Complex movements, expressive gestures

BANGALORE: A multi-faceted dynamic Kuchipudi natya dancer and actress Vyjayanthi Kashi was in her best elements when she performed during the Sangeetha Sambhrama festival held under the direct

Published: 14th January 2012 02:48 AM  |   Last Updated: 16th May 2012 06:14 PM   |  A+A-

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BANGALORE: A multi-faceted dynamic Kuchipudi natya dancer and actress Vyjayanthi Kashi was in her best elements when she performed during the Sangeetha Sambhrama festival held under the direction of singer P.Ramaa at Seva Sadana, Malleshwara. Maintaining the racy character of the dance form and the vachikaabhinaya throughout her recital, Vyjayanthi brought to the fore the niceties of satwikaabhinaya, the most important factor in a successful enactment. The pure dance sequences were also of high class with taut laya intact. There was variety both in the vocabulary of the dance form and also the executions of beautifully selected compositions.

In the delineation of Ardhanareeshwara, conceptualising male and female form of God Shiva, representing lasya(graceful) and tandava(vigorous) was appropriately highlighted. The variations in the time, speed and gait was enthralling. Shringara ras oriented Sathyabhama daru was given a deserving exposition. The entry of Sathyabhama with a curtain lent to the authenticity of the dance.

The enactment of Gandhaari on the basis of a Kannada composition(Kudi arali chigurodedu) was at artistic. Her profundity and stage presence was more pronounced in the rendition of the Tarangam(Pahi pahi Krishna, Amrithavarshini). When she could not find her brass plate in the wings, without getting disturbed she took up a steel plate lying over there and rendered complicated laya patterns on it with ease and poise. Likewise she handled the situation very cleverly when the flute of the image of Krishna kept on the stage slipped into her hands.

Glowing nritta: The name of Prathibha Prahlad is very well known in the classical dance arena. Her vibrant personality encompasses all her challenging endeavours. Her Prasiddha dance repertory has won global recognitions and accolades. Under her direction the members of her repertory Guru Sathyanarayana Raju, Somasekhar, Radhika Ramanujam and Sowmya Somasekhar presented a glowing effulgence of the Bharatanatya nritta. The mallari was expounded with demanding and complex limb, eye and neck movements.

The countless geometrical formations, alignment and realignments of groups et al filled the eyes. Adi Guru Shankaracharya’s Nagendrahaaraaya(Shivapanchakshari) was meaningfully used to eulogise the Lord Shiva. The Keeravani sargam a la tillana was a befitting finale.   Prathibha Prahlad was felicitated with the Sangeetha Sambhrama Puraskara at the Chowdaiah Memorial Hall with a shawl, citation and other paraphernalia.

The compatible duet: The young vocalist duo Malladi Brothers regaled the audience with their artistic and aesthetic singing. Inspiringly supported by Charulatha Ramanujam(violin), A.Kumar(mridanga) and Omkar(ghata) the brothers made their duet a cherishable one with their compatible presentation of Janaranjani(Thagaraja’s infrequent krithi Smarane sukhamu) and a rare Natakapriya (Idi samayamu brova). The neraval and swaras for Paramapurusha was classic. Narasimha aagachcha(Mohana) and one of Thyagaraja’s Lalgudi pancharathna krithis Mahithapravriddhashrimathi(Kambhoji, with neraval and swaras) established an intimate rapport with the audience Dharmashravana(Shuddhasaveri) and Jayajayarama(Manirangu) were elevating.

Vivacious Vyjayanthimala Bali: The septuagenarian sensitive exponent of Bharatanatya and an accomplished actress Dr. Vyjayanthimala Bali proved that the excellence is the product of expertise, experience and perspiration. In her comprehensive recital at the Chowdaiah Memorial Hall, she won the hearts of the rasikas with her portrayal of different forms of Devi on the basis of Shivakaama Sundari.

Veene Seshanna’s rare Jhalavarali varna Kaamashathakoti sundara addressed to his patron king Nalwady Krishnarajawodeyar was explicated with all the subtle nritta, nrithya and abhinaya components of  Bharatanatya.  The captivating abhinaya in Narayanateertha’s Govinda maha gopika was followed by a Purandaradasa mangala. Young Anantha(vocal), Gayathri(nattuvanga) and others imparted useful musical support.

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