ಭಾನುವಾರ, ಜುಲೈ 31, 2016
ಗುರುವಾರ, ಜುಲೈ 28, 2016
Prasad Rao - Rabindranath Tagore's Chitra-Dr. Sripada Bhat's theatrical presentation -A fusion of art and times
Rabindranath Tagore's Chitra-Dr Shripad Bhat's theatrical presentation : A fusion of art and times
Rabindranath Tagore's Dance drama Chitra , directed by Dr. Shripad Bhat and presented by the artists
of Nrityaniketana Kodavoor, is a remarkable work of fusion.
First, the director dr. Shripad Bhat's experimentanal blending of Bharathanatyam with drama is highly impressive. Second, his treatment of Chitra's identity conflict is remakably appealing and dramatic because he represents the long monologue of Chitra through dance and dialogue between two Chitra Third, the use of chorus for dance and dialogue adds the much needed community dimension to the otherwise personal conflict in chitra.
Dr Bhat's Chitra begins with naandi-a dance composition to Kalidasa's verse on harmony of vagartha and the relationship between Shiva and parvati. On the universal plane it also implies the relationship between man and women
. It hights whole and harmonious power relationship . be it personal or social.
The Presence of the bow and the flower throughout the performance compliment the symbolic order in Tagore's world which aims at higher spirituality through the mundane objects of ordinary life. The Carnatic music and Bharathanatyam never seem alien to the worlds of Tagore as the choreography blends the theme, mood and the dance to one final fusion. i.e, the predicament of Chitra she is tor between real self and the conventation role of a women trying to gratify herself by surrendering to the male desire of Arjuna.
The rich coloumns of the costumes and props. and the lights which skillfully follow the mood and movement of characters contribute to the intensity of performance the representation of the characters. Madana, the god of Desire, in blue and Vasantha as a white cherubic angle-is in keeping with the theme of universality as well as the temptation of the west.
The relevance of Dr Bhat's Chitra is in its suggestive reference to India's frenzy for "national identity and imitation of the aggressive masculine models of power. Chitra conflicts and her final acceptance of her "existing self" implies the neccesary corrective to this desire search for " unreal masochistic national idenity" as well. The dominant discourse has always represented women's body and the nation a s needing masculine protection. The masculine violence of turning woman/nation into desirable body or an object of satisfaction , to which woman nation is subordinated the most important of Tagore's concerns-is presented unequivocally in Dr Bhat's Chitra. This the performance achieves skillfully. It subverts the so called 'Classical Indian Bhaaratanatyam at critical junctures, i.e, in the presentation of the seenes which deal with the identity-issue. Hence it infuses new energy to the forms of dance and drama as well.
Such subtle fusion made Dr. Bhat's CHITRA one of paramount performamces in the Ondian panorama of dance and drama. Kudos to Dr. Bhat ,18 dancers who had the flare for theatre- acting and NrityaNitekana Kodavoor , who see the need to address the contemprary questions by adapting to the modern forms of theatre.
Rabindranath Tagore's Dance drama Chitra , directed by Dr. Shripad Bhat and presented by the artists
of Nrityaniketana Kodavoor, is a remarkable work of fusion.
First, the director dr. Shripad Bhat's experimentanal blending of Bharathanatyam with drama is highly impressive. Second, his treatment of Chitra's identity conflict is remakably appealing and dramatic because he represents the long monologue of Chitra through dance and dialogue between two Chitra Third, the use of chorus for dance and dialogue adds the much needed community dimension to the otherwise personal conflict in chitra.
Dr Bhat's Chitra begins with naandi-a dance composition to Kalidasa's verse on harmony of vagartha and the relationship between Shiva and parvati. On the universal plane it also implies the relationship between man and women
. It hights whole and harmonious power relationship . be it personal or social.
The Presence of the bow and the flower throughout the performance compliment the symbolic order in Tagore's world which aims at higher spirituality through the mundane objects of ordinary life. The Carnatic music and Bharathanatyam never seem alien to the worlds of Tagore as the choreography blends the theme, mood and the dance to one final fusion. i.e, the predicament of Chitra she is tor between real self and the conventation role of a women trying to gratify herself by surrendering to the male desire of Arjuna.
The rich coloumns of the costumes and props. and the lights which skillfully follow the mood and movement of characters contribute to the intensity of performance the representation of the characters. Madana, the god of Desire, in blue and Vasantha as a white cherubic angle-is in keeping with the theme of universality as well as the temptation of the west.
The relevance of Dr Bhat's Chitra is in its suggestive reference to India's frenzy for "national identity and imitation of the aggressive masculine models of power. Chitra conflicts and her final acceptance of her "existing self" implies the neccesary corrective to this desire search for " unreal masochistic national idenity" as well. The dominant discourse has always represented women's body and the nation a s needing masculine protection. The masculine violence of turning woman/nation into desirable body or an object of satisfaction , to which woman nation is subordinated the most important of Tagore's concerns-is presented unequivocally in Dr Bhat's Chitra. This the performance achieves skillfully. It subverts the so called 'Classical Indian Bhaaratanatyam at critical junctures, i.e, in the presentation of the seenes which deal with the identity-issue. Hence it infuses new energy to the forms of dance and drama as well.
Such subtle fusion made Dr. Bhat's CHITRA one of paramount performamces in the Ondian panorama of dance and drama. Kudos to Dr. Bhat ,18 dancers who had the flare for theatre- acting and NrityaNitekana Kodavoor , who see the need to address the contemprary questions by adapting to the modern forms of theatre.
ಶುಕ್ರವಾರ, ಜುಲೈ 22, 2016
ನೃತ್ಯ ನಿಕೇತನ ಕೊಡವೂರು ,ರಜತಪಥ - ಸುಳಾದಿಗಳ ನೃತ್ಯ { ಹೆಜ್ಜೆ ಗೆಜ್ಜಿ ಮಣಿಪಾಲ } 24--7-2016
Nritya Niketana Kodavoor { R } Suladi Bharatanatya at Ambalpadi Temple , Udupi -24-7-2016 - 4.30pm Welcome
ಗುರುವಾರ, ಜುಲೈ 14, 2016
Nritya Niketana Kodavoor { R } Bharatanatyam at IIBM ,Bengaluru -13- 7- 2016
(10) Manasi Sudhir - pls clik here - Photo Album
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