Lava-Kusa at Naradagana Sabha.
A soirée of
more aesthetics over theatrics which is the hall mark of any classical art,
more so Indian classical dance forms where emphasis is more on expressing
devotion and where entertainment is the outcome of portrayal of such
expressions.
So in keeping
with this healthy tradition, of emphasizing aesthetics over theatrics and
devotion over entertainment, Lava-Kusa
had more pristine musical and dance oriented presentations than excessive props
to convey the character and contextual depictions.
The thread of
excellent lyrics, music combined with appropriate and powerful abhinaya and
hastamudras ensured to enchain the scenes one after another while
simultaneously and effectively embellishing the characters manifesting various
moods and emotions.
A dance drama
has to pay attention to another important dimension i.e. space.
This was also
deftly handled as lighting was used very carefully [without being jarring or
too bright- compromises necessitated by poor quality telecasting requirements] only to recreate the effects of distance,
space, portray personalities from different milieus namely, those from the
royal abode (Rama and his brothers) and those living in an ashram (Lava, Kusa
and Valmiki).
Battle scenes
were set in suitable nadais (rhythmic patterns) in chatusram, mishram and
kantam with appropriate raga patterns.
Bharatanatyam’s
key feature is nritta with its complex rhythmic footwork of strikes,
extensions, jumps, leaps, intricate patterns made by movement of hands and legs
appropriately and not exaggeratedly (then it becomes too theatrical) all
stemming from an extended and dynamic torso with controlled movements creating
perfect geometry in motion was well portrayed through generating and releasing the emotion of the
character of Anjaneya played by a senior male Bharatanatyam artiste and the
guard of the hermitage of Lava Kusa. Both characters exhibited special effort
or stylization, such as high kicks, leaps, or measured walks.
They also
manifested how Bharatanatyam requires unaccustomed patterns of muscular
exertion and relaxation as well as an unusually intense or sustained
expenditure of energy and showed how a dancer may become intensely aware of the
force of gravity and of a state of equilibrium or disequilibrium that no one
can experience in any other normal or acrobatic activity.
The role played
by Anjaneya was so vibrant that many could experience kinaesthetically [1] something
similar to the physical sensations of the artiste. Though one felt excess of
yellow on cheeks, to enhance the protrusion of reddish jaws, could have been
avoided.
There was
maturity and poise in the character of Valmiki and Vashista.
The beauty was
this hour long briskly paced dance drama was also spiced with sublime
incorporation of sculpturesque poses of some characters with appropriate ragas
like Sahana accompanying such a scene.
[1] Kinesthesia, or the
awareness of the body through sensations in the joints, muscles and tendons,
rather than mere visual perception alone ,
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