Mark of the master
|
`Arthanareeswaram' reflected the uniqueness of Kuchipudi form that was also the hallmark of Vempati's style.
|
Whatever be the criteria on various fronts, a ballet coming as it does from Vempati Chinna Satyam (Kuchipudi Dance Academy) strikes one as `picture perfect'. The smooth flow of narrative, the logical interpretation to mythology, credible costumes, excellent stage adaptability, a live and faultless accompaniment - all these are the hallmarks of a Vempati ballet which to date has not eroded in its quality.
Arthanareeswaram, one of the old dance dramas of Kuchipudi received its best treatment in the hands of Ravishankar Vempati who carried the ballet solely on his shoulders in a recent performance.
Ravi as Lord Shiva was impeccable both in ahaarya (with minute details worked out carefully in the makeup), abhinaya and nritya. He made an excellent entry through a series of jatis, displaying
grace in movements and absolute rhythm. His footwork, though not complex and exacting, was brisk and balanced. His stances were like frescos, especially in the dance with the rishis. The capturing of Ganga in his locks, the pining for his consort Gowri, pacifying an enraged consort were like testimonials to Ravi's emotive ease of expression. His artistry reached its peak as he donned the Arthanareeswara garb (fusion of male and female) - his right side that of Lord Shiva and the left, Shakti , bedecked with jewels and regal robes. The entry of the Arthanareeswara in the typical Kuchipudi style behind a cloth screen (tera) gave an impetus to the powerful portrayal that followed. A thin gossamer veil divides the face, which is painted in male and female form. This veil is manipulated by the dancer's nimble fingers, to alternately display eye expression and also the fusion of the male and female creative forces dance in unison with its respective laya. In
dance parlance, the tandava technique style of the male and the lasya style of the female are distinctly shown on either side even as they merge in cohesion to the tune of the arthanareeswara strotram was the classic climax of the ballet. It was the most evocative piece in the entire dance drama.The male dancers proved to be far above their female counterparts, be it in abhinaya or the footwork aspect. A little more attention to minute choreographic details like stage space and placement of dancers especially when the sequence calls for a large gathering on stage would have avoided minor pitfalls like lack of synch in the elongated jati following the seven dancers who emerge as tributaries of the Ganga trying to dance along with rishis and devas. The female dancers fell short of strong footwork and ended up with imperfect hastha mudras. One artiste, Lakshmi (a
Russian we were told) was striking, not just in appearance but in facial expression and swift movements to the slokas on Shiva (shivam shankaram shambu meeshana meedey). She would have fit the principle roles (Ganga and Gowri) to a T. By the same token, Kalpana as Ganga and Gowri was disappointing to say the least. Excellent music and jatis for Ganga failed to lift her dance to exalted levels like that of Shiva. Nor was she an adept at abhinaya. One failed to notice varying expressions on her visage in keeping with the roles she essayed.
Sangeeta Rao's music had an enhancing effect on the ballet. D.V.S. Sastry's melodic vocal was an asset. He was ably supported by Vanaja. Sudhakar on the veena, Nagarajan on the flute and Suryakanth on the mridangam made a fine threesome. Phani Kumar on the pakhwaz and Balasubramanyan on the violin were also up to the mark.
The ballet was staged at Thyagaraya Gana Sabha as a part of the recently concluded Kinnera Art Theatres' Nrityotsav.
R.K.
Printer friendly
page
Send this article to Friends by
E-Mail
Entertainment
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
