Refreshing approach to abhinaya
TULSI BADRINATH
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The expressions of Priya Murle and the leaps of Mythili Prakash were impressive.
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POLISHED: Priya Murle. Photos: R. Shivaji Rao.
Priya Murle's art is not about self-projection or slick presentation. It is warm and compelling, and has an old-world charm. Her abhinaya is not limited to the face, which is eloquent, but stems from her inner being.
After ``Narayana Stuti" (composer Madurai N. Krishnan), Priya went on to ``Ye manthayaanaraa," a Huseni swarajati by the Thanjavur Quartette. Priya's abhinaya was heart-felt and it captured one's attention. Asking Pratapasimha Vazira about the girl who had managed to ensnare him, Priya described the various methods she might have employed — blowing magic dust on him, slipping something into his betel-leaf, using the arcane power of words. Each of these sancharis was made real by Priya's genuine belief in them. Her nritta has been built on the strength acquired by years of training, but required polish and smoothness of flow.
If the varnam was wonderful, Priya's ``Smaratinu maam," from Swati Thirunal's larger work on the story of Krishna and Sudama, was superb. It is the nature of life that relationships change as people grow and mature. Sudama's apprehensions about the way his childhood friend Krishna would receive him, were rendered in a poignant, deeply involved way. The sanchari firmly etched the swabhava of the kshatriya and that of the brahmana by contrasting the way they held the bow. When Sudama finally sees Krishna, Priya's bhava merged with Nandini Anand's very evocative Behag bringing tears to the eyes. After such an intense piece, it was difficult for the rasika to re-adjust to the lighter mood of the Javali ``Samaya Idhu Allavo" in Suruti, though Priya did it very well. A tillana composed by Madurai N. Krishnan in Hindolam, Adi talam, ended an evening that was refreshingly different in its approach to abhinaya. Gifted Veda Krishnan on the mridangam and Srinivasan on the violin gave strong support, as did Sashirekha Vasudevan with the nattuvangam.
Powerful nritta
Mythili Prakash.
Dynamic Mythili Prakash began her performance with ``Shiva-Shakti." Rarely does one find a dancer whose own energies are so remarkably suited to the task of portraying the energy divine.
In the fast-paced and demanding item, Mythili's dazzling leaps and powerful nritta evoked the feminine force underpinning all creation.
In peak physical condition, Mythili was even more impressive in Papanasam Sivan's Nattakurinji varnam, ``Swami naan undhan adimai." Long, racy theermanams with intricate sub-divisions of time, studded with flying jumps and whirling turns-on-the-knee, were performed with unfaltering precision and grace by Mythili. It was a high-voltage, psychedelic portrayal of Siva's dance. Her bhava was sensitive and involved. Hari Prasad's inspired singing added an extra dimension to the performance.
``Thaye Yashoda" (Todi) proved that Mythili can hold her own in abhinaya as well. Mythili was convincing as the nayika approaching Yashoda with news of Krishna's amorous advances, not in keeping with his child-like appearance. ``Kannan En Thozhan" composed by Asha Ramesh and choreographed by Mythili Prakash explored Arjuna's friendship with Krishna.
Arjuna's doubts about his swadharma on seeing his own relatives arrayed in battle against him, Krishna's song celestial, and Arjuna's moving realisation of the real, immense nature of his friend were made vivid by Mythili. Veda Krishnan's brilliant percussion and the range of special sounds he produced were an integral part of the show.
Continuing with the Krishna theme, Mythili ended with Oothukadu Venkatasubbier's ``Kalinga Nartanam." Guru Viji Prakash kept the fast pace going with the nattuvangam. Ranjani Ramakrishnan (violin), Mahesh Swamy (flute), and Sourirajan (tavil) provided vital support.
While Mythili's performance seemed designed to showcase prodigious virtuosity in nritta, it was balanced by the dancer's bhava projecting the art, not herself. One would question though the notion of nritta here. Each theermanam at express speed glittered with rapid, relentless movement resulting in a sameness of effect. Does the older poetry of movement that adhered closely to the melody of sollukattus and the curve of swaras, that glowed as much with silence and stillness as with the slow, have no place in her dance? One hopes that it does.
Weak nritta
Ganga Grace.
Watching Ganga Grace perform to the ``Siva Panchakshara Stotram,' certain questions came to mind. Where is the heart of dance to be found?
If dance is both local to a culture and universal in its language, then what does that imply? If a vital attitude to the body and the earth inheres in a movement, can one overlook its poor execution by any dancer? Ganga's dance presented itself in a divided fashion.
While her poses and expressions delivered while standing were acceptable, her nritta betrayed her. In Bharatanatyam, there is intimate connection between the earth and the foot. This is the reason why dancers first seek Bhoomi Devi's forgiveness before taking liberties with Her.
Ganga's di-di-tais at the end of theermanams were vague attempts at locating the ground. Similarly, the awkward taiha-taihis and kitatakatarikitatoms. Her base position, the araimandi, had a wide gap between the out-turned feet. Overall, her understanding of nritta was refracted through the prism of a ballet-trained body.
Ganga did not succeed with bhava in Papanasam Sivan's Dhanyasi varnam ``Nee Inda Mayam." The expressions done to mudras stood ioslated and therefore lacked continuity of thought.
However, in ``Chikkavane" by Purandaradasa, the dancer emoted bhava that was credible. The nayika informs Yasoda that her son Krishna, whom she considers a little boy, is actually up to very grown-up mischief. Ganga's training under Jayanthi Subramaniam was clearly visible in this ragamalika piece.
The tillana in Hamsanadam was a brave attempt, but unfortunately suffered from a different language of the body.
A pity, because Ganga's slim figure and facial features are attractive in costume. Ganga had a good team of musicians. Hari Prasad's singing was melodious.
Jayanthi Subramaniam was strong with the nattuvangam.
Shikhamani on the violin and Sunil Kumar on the flute and Ramakrishnan were impressive.
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