Feast to the eyes
LASYA VEMPARALA
|
`Rukmini Kalyanam' by the students of Uttaraa Centre was an enchanting performance.
|
Photo: G Krishnaswamy
GRACEFUL STEPS The impressive dance ballet.
Uttaraa Centre for Performing Arts celebrated its 7th anniversary last week and as part of the celebrations, an expansive dance ballet, Rukmini Kalyanam, was staged at Thyaagaraja Gaana Sabha. The ennobling theme highlights the unrivalled supremacy of the Lord Sri Krishna in emphatic, deep devotion cum love-drenched emotions passing through myriad expressions.
The neatly executed dance ballet, classical in its insistence, performed by 35 talented products of Uttaraa Centre, showcased Rukmini Kalyanam in resplendent assortment of sequences packed with fluidity, grace, etiquette, unbundled energy, control, tala precision and movement vocabulary. The ingenious choreography of Geeta Ganesan and the entrancing music composition by Jayaprada Ramamurthy blended uniquely into the most vibrant ballet with sublime visual dimensions.
The blooming of young Rukmini into a coy, demure and stunning bride pining for Lord Krishna was enacted poignantly. Geeta Ganesan excelled in adapting pure technical knowledge to the rationale of stage presentation running into a memorable progression .
Particularly enthralling are the sequences portraying Rukmini (delectably enacted by Geeta Krishna) performing marriage of dolls with her sakhis, and the endearing depiction of Kaaliyamardhana, Rukmini's gestural expressions of agony and adoration as she embarks on imaginary flights of reflection. Sans elaborate stage dιcor, the special light effects stole the show when Sri Krishna's transcendentally attractive qualities, mystic perfection were portrayed.
Krishna was played by Suvarchala, whose mesmerisingly chiseled features and charismatic stage presence had portrait-like vivacity. One sequence that portrays the Brahman delivering the letter to Krishna explaining Rukmini's plight and how Krishna deferentially offers the Brahman paricharya was a delight to watch. The mastery of Jayaprada Ramamurthy over music and subject was brought into play and invested the dance drama with its distinctive flavour. The flautist's spontaneous incursions are only befitting considering that it is Krishna's exploits and charms that stole the show and the audiences' hearts. The ballet reflects with rare felicity the Bhagavannama Sankirtana tradition. The sequence where Rukmini is performing Gowri Pooja at the temple with her sakhis reaches a spectacular culmination when Krishna arrives in his chariot, blowing his conch and abducting her. The denouement of Krishna abducting her is an engaging scene.
The pitched battle between the two armies post abduction was portrayed with intense hastaabhinaya. The grand finale is Lord Krishna's marriage with Rukmini in Dwaraka with all devout fanfare, festivity and salutation. The ballet was ripe with established dignity, expressive abhinaya and striking nritta, nritya and natya skills. The percussive support lent on the bamboo made for a fitting tribute on the enthralling evening.
Printer friendly
page
Send this article to Friends by
E-Mail
Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
