`Bhava', `abhinaya' and `laya'
LASYA VEMPARALA
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Laya's dance performance was filled with theatrical sensitivity.
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Photo: G. Krishnaswamy
VERSATILE ARTISTE Laya comes up with an intense fare.
Sangam Academy and Suchir India organised Laya Natya Lahari, a dance performance by actress Laya at Ravindra Bharati. Through her second recital, Laya takes up the daunting task of presenting a versatile assortment of eight items. After the traditional invocation through Pushpanjali in Malahari Ragam, Chaturasra Eka, sheoffers salutatory Ganesa Stuthi in Gambeera Nata in Khandachapu.
Her intense mudra and hastaabhinaya involvement in rendering Shree Vigna Rajam Bhaje piece brought life into the exaltation of the omnipotent attributes of Ganesa. In the second piece, Pada Varnam in Attana Ragam and Adi Talam, Laya transports us into a bhava jagat in a core elaborate number. The mesmerising rendition corresponds to the celebrated theme of shringara rasa of visual rhapsody in the description of Neela Megha Shyamam.
The captivating, convincing interpretations of Sri Krishna as the avatara purusha, mercy incarnate, in abhaya mudra and wielding sudarshana chakram beautifully blends the piece with its Sahitya.
Laya portrays Krishna's mystic exploits with the aptly chosen lyrics to allow scope for elaborating the penetrating emotional abhinaya. When she enacts Nee Mahimalanu Teliya Tarama, Paluka Tarama, she converts the subtlest of beseeching nuances followed by a body vocabulary to depict the slaying of demons like Potana.
The word varna meaning colour can have a variety of shades and Laya paints a mosaic of images in the next item. Jaawali in Kalyani Roopaka, where Laya displays her versatility in scenes like the one where she snaps her fingers beckoning Venugopala Vega Ra Ra. In the Tillana in Brindavana Saranga, Adi, a Lalgudi Jayaraman creation, she enacts a conceptual dance reflected in meticulous adavus, rhythmic coherence in all its communicative orientation.
The Vaachika and Mudra Abhinaya was sumptuous in the sequence where Arjuna pleads that he resists violent warfare in Na Kaankshe Vijayam, Naa Cha Rajyam. Krishna, the charioteer enlightens him on the abyss between `myself' and `you.' Laya dances the dialogue sequence with profundity to intuit the affirmative meaning. The uplifting evening ended with mangalam in Sourasthram in Chatursrajati Triputa. The venerated guru, Pasumarti Ramalinga Sastry gave the honours on the nattuvangam while the outstanding vocal support was lent by Padma R. Sastry and D.S.V. Sastry along with K. Rajagopalan on the mridangam, Sudhakar on veena and V.B.S. Murali on flute.
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