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Rhythms of the rajas
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Chalukya Vaibhava, a ballet presented in Mysore, was spectacular
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WELL CONCEIVED The production was marked by historical grandeur
Vasundhara Performing Arts Centre presented Chalukya Vaibhava on the inaugural day of Parangathotsava 2007, a four-day national-level music and dance festival.
Shri Shivaratri Deshikendra Swamiji of Suttur Mutt inaugurated the festival. The Centre honoured the noted Hindustani musician Shyamala G. Bhave and bestowed on her the title Shruthi Sagara.
The ballet commenced with a grand portrayal of the royal court. Innovatively, the actors enter from the main entrance of the auditorium, the king Pulikeshi heading the procession. He then ascends the throne with the majesty becoming of his rank.
Marking the event, the court dancers perform a few passages of glittering pure dance, and the panegyrist emphatically proclaims the formal encomia. A stage is thus set for a rich and comprehensive portrayal of both history and artistry - sarva shaastrartha sampannam sarva shilpa pravarthakam, naatyakhyam panchamam vedam sethihasam karomyaham (Natyashastra).
The choreographer, Vasundhara Doraswamy, who also personated the king, successfully achieved all the above objectives with minimum stage decor, but with opulence of imagination and visualisation, not ignoring the chronological importance.
Realistic on-the-stage sword fight between Pulikeshi and Harshavardhana was spectacular. Exemplary celerity and valour exhibited by Vasundhara and Sandesh Bhargav transported spectators to the world of wonder and thrill.
Varieties of geometrical configurations constituted well-synchronised kolata, which also introduced various temples of Pattadakallu.
Spiritual theme filled the picture of Aihole, the cradle of Indian architecture. Taking the deity Suryanarayana as the aalambana vibhaava the choreographer substantially established the sthayi bhaava–shama (tranquility).
Sequences of Surya Namaskara and yogic postures (angikabhinaya) revealed the vyabhichari bhaavas - sense of detachment (nirveda) and wisdom (dhriti). Meditative expressions (anubhaava) ultimately evoked (rasanishpatti) serenity (shanta rasa) in the spectators. Chanting Surya Gayatri stood for the vachikabhinaya and all-encompassing involvement on the part of the artistes spoke of satvikabhinaya (satve naatyam pratishtitham).
More of artistry awaited in the delineations of Badami: Thandava signified Nataraja and the descriptive vivid sancharis portrayed interesting sequences of Mahishasuramardhana and Narasimha Avatara.
Acute sculpturesque postures represented Shilabalikas of Belur, glorifying the Hoysala architecture. The narration concludes with a few vachanas (“Chakorange Chandramana” - Basavanna, “Chilipiliguttuva” and “Akka Kelavva” -Akkamahadevi). Vasundhara and her students imaginatively expanded the lyrics through convincing vyabhichari bhaavas.
The music ensemble comprised Rajeshwari Pandit (vocal - clear and emotive), Guruprasad (nattuvanga - animated), Shivashankaraswamy (mridanga), Narayan (violin) and Raghavendra (rhythm pad).
V. NAGARAJ
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
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