A cosmic journey into Bhava Jagat
LASYA VEMPARALA
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The performance by Sobha Naidu's students was a treat for Kuchipudi lovers.
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PHOTO: G. KRISHNASWAMY
NAVA RASA NATA BHAMINI A glowing tribute to the abounding Kuchipudi dance drama legacy.
Dance without rasa is nothing but a lifeless, mechanical exercise. Uddhata was the first commentator on Natya Shastra to speak about navarasas and experiencing them could purge, purify or morally enlighten the audience.
Drawing from literature
What better theme could Dr. Sobha Naidu have conceived than Nava Rasa Nata Bhamini or Navarasas of Shakthi for the silver jubilee of her Devi Kuchipudi Arts Academy? Drawing on a vast range of rich sources like Shiva Puranam, Devi Puranam, Adi Sankaracharya's Stotras, Sobha Naidu presents the production through the alliterative script by the veritable Dandibhotla Vykunta Narayana Murthy and eloquent music by none other than D. Srinivas.
Sobha Naidu herself directs and choreographs the presentation and the first enactment opens with the uninvited Sati Devi attending Daksha Yagnam and how she casts doubts. In utter humiliation, Bhibhatsa Narayani immolates herself resulting in (jugupsa) disgust. This classic emotion is depicted through sheer expressive and narrative wizardry true to the eloquent drama tradition of Kuchipudi.
This immediately follows the presentation of the munificent Devi in Karuna rasa. When Cupid strikes Lord Shiva, his wife Rati, grief-stricken, pleads with the mercy-incarnate Goddess who argues her case and persuades Shiva in bringing him back to life.
The next portrayal is that of Shiva getting engaged to the Goddess. Against the backdrop of wedding festivities, the cheerfulness of Bhaasa Haasita Narayani is depicted as her playmates tease her while describing Shiva as somebody who wears snakes and skulls, smears his body with ashes. Parvati as a bashful bride is tickled pink and the scenes exude facial, sprightly abhinaya.
Following the cheerful disposition of the Goddess is the pranaya vinyasa of the male and female energies of the first cosmic couple and this recital enlarges as we see the portrayal of the Goddess as Shringara Rasa Tarangini Narayani.
Contrasting portrayals
When Lord Shiva grants a boon to Gajasura and leaves Kailas to surrender to his ardent devotee by agreeing to reside in his womb, the Goddess is lost and clueless, and sinks in panic. Therefore, the Devi is illustrated as Bhayakampita Narayani.
In next stunning contrast, the divine dance of the cosmic couple reaches a spectacular culmination and the universe is engrossed in their tandavam. The Goddess is seen as Adhubta Naayika in this symbolic dance of harmony and rhythm.
The subsequent episode sets the stage for the Goddess to become the embodiment of valour in Prasanna ragini and Pratapa roopini Narayani. In this engaging scene, she seethes with rage to subvert the most dreaded terror, mahisha.
The body grammar portrays the febrile intensity of Roudra Roopa Swaroopini as the Goddess absorbs the powers of the deities of the vedic pantheon in the form of assorted weapons. She readies for the final combat with Mahishasura. The mood-oriented musical score too reaches a denouement as she puts an end to the evil force.
Sri Mata, the ultimate source of composure couldn't have been better portrayed than through Sri Adi Sankaracharya's stotrams deifying her as Sachidanda Swaroopini, Shantamayi Narayani in the fitting finale.
Aharya needs a special mention as every care was infused for samanvya and flavour through a judicious use of lights, sounds, the appealing stage decor and the befitting costumes. One can certainly experience a touch of Surabhi, yakshagana and folk tradition and the verbal rhapsody of both Telugu language and Sanskrit.
Given Sobha Naidu's genius, the magnificent theme couldn't have found a better treatment, better occasion and better performers than her own disciples to ascend the stage to do the honours.
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