Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
Kalakshetra magic
RANEE KUMAR
|
The stamp of a dance powerhouse and an elegant detailing warms the cockles of the connoisseurs.
|
Photo: G. Krishnaswamy.
Nimble moves The dance ballet by Kalakshetra troupe
Its name is synonymous with Bharatanatyam ballets executed with chiselled perfection. The Kalakshetra troupe was here with one of their archetypal production-Rukmini Kalyanam. Choreographed by the institution’s illustrious fo
under Rukmini Devi Arundale, the ballet unlike the famed Ramayanam, is in the Bhagavatha mela mode, a la Mellattur with the Arundale magic. The folk element is intact, dusted off its crude rusticity, with a sprinkling of sanctity-for the source is Bhagavatam-amazing aesthetics, formatted footwork, abhinaya sans melodrama. Kudos to the present-day Kalakshetra troupe for offering this ballet without tampering with the original envisaged and produced by Rukmini Devi.
Presented in six episodes-Rukmini Kalyanam runs on familiar lines as far as the theme is concerned.
As scene one unveils the court of King Bheeshmaka (Rukmini’s father), the introduction is given by a set of female dancers followed by male sycophants (vandimaagatulu) and the royal minister. The King’s actual entry is preceded by a compelling beat of the mridangam to which the character emerges to a full-fledged, powerful jati sequence. Shreejith Krishna as Bheeshmaka carried away the first expressions of rapture as expected going by his persona and proficiency. Rukmangi (Nirmala), the wife of the king also gives her brief introductory footwork. Artistes enter in keeping with their character and its distinct qualities. While the Vaishnava (ably played by Shrijith Nambiar) looked every inch a devout Brahmin, attired in simple white dhoti with a matching turban, his movements and abhinaya vary according to the situation he’s placed in.
The popular Rukmini epistle episode also envelops a few preceding events like the entry of the heroine, her cheer and immediate distress, etc., comes out poignantly especially when one so tender is seen weeping and writing for succour to an ‘unseen’ beloved. Haritha looked demure as Rukmini with graceful dancing skills and spontaneous abhinaya moving from mood to mood in quick succession. The choice of Hari Padman as Krsna must have had two considerations- complexion and dexterous dancing capabilities. The blue lighting as he comes into focus on the stage gave the ‘neela megha’ tinge to his persona in keeping with the description of Krsna. Jaikrishnan as the relief ‘gudu gudu paandi’ foretelling Rukmini’s future breezed in and out leaving a lasting impression with his ‘special footwork’. The one and only Sreenadh as Rukmi made a stunning entry leaving the audience gaping. His excellent footwork with the sword in hand, his red costume telling his fiery, passionate nature, an agile body that could swing high up in the air with the ease of an eagle was superb.
A word about the costumes and stage setting is what makes a Kalakshetra ballet so unique. Simple, hand-crafted maroon backdrop with a motif to the central doorway, artistic costumes with required embellishments-Rukmini the maiden in sober mustard and pink transformed into red as a bride, Krsna in peetambaram (mango yellow), King in earthy browns, sakhis in green, and so on with suitable hairdos, a mobile structure resembling a temple for Gowri puja, a small ‘kalash’ placed centrestage-looks inconspicuous but represents the marriage scene –such minute detailing added elegance to the presentation. Live orchestra is another redeeming feature –violin by Srinivasan and Shashidhar on the bamboo excelled while the mridangist Anil Kumar had to keep pace (first kalai speed) with vocalist Sai Shankar. Jyotsna Menon on nattuvangam was alright.
The ballet put up at Ravindra Bharati was part of the Andhra Music Academy’s eighth annual festival.
Printer friendly
page
Send this article to Friends by
E-Mail
Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
