Poignant, realistic portrayals
B. RAMADEVI
|
The second edition of ‘Konjum Salangai,’ had an impressive line-up.
|
Photo: M.Balaji
Arresting: ‘Viralimalai Kuravanji’ by Padma Subrahmanyam and Vineeth.
The second edition of ‘Konjum Salangai,’ Shanmukhananda Sangeetha Sabha’s second dance festival at Velayuthaswamy Mandapam, Tirupur, made a memorable impact in the minds of the spectators with impressive dance ballets choreographed by renowned dance gurus.
Guru Sheela Unnikrishnan’s well-acclaimed ‘Parvathi Parinayam’ made another conquest in Tirupur. Watching the large number of participants (fifty, in fact) performing their roles effortlessly without any confusion told volumes of the planning and the organising ability of the guru as well as the commitment of the students. It was a visual extravaganza.
Anita Guha’s Bharatanjali Trust presented ‘Thiruppavai’ on the second day and won the hearts of the spectators with lovely looking dancers who danced beautifully to the accompaniment of an orchestra of high calibre. They had delighted the Pollachi public the previous day with the same programme at a dance festival.
Padma Subrahmanyam’s ‘Bharata Nrithyam’ and ‘Viralimalai Kuravanji’ on the final day gave proof to the heights she has reached as a dancer. She presented ‘Seetha Kalyanam’ and ‘Brahmamokate’ during the first half. Her ability to present innumerable small details in the fraction of a second was astounding. Even more astonishing was the spectators’ immediate and appropriate response.
Her depiction of the lines ‘Annalum Nokkinaan, Avalum Nokkinaal’ intensely conveyed Rama’s love for Sita. Padma wrote a beautiful poem of love with her arresting expressions. For the wedding scenes, Tyagaraja’s kritis were chosen, as he would have imagined the scenes, with minute details. She concluded it with the Utsava Sampradaya Keerthana, ‘Seetha Kalyaana Vaibhogame.’
If shringara rasa ruled in these scenes, hasya rasa had a heyday when she acted out the struggles of the overconfident kings in King Janaka’s court. And, how she depicted Ravana! He enters with swagger recalling his great feat of lifting Mount Kailash and wondering whether his little finger should be enough for this bow of Siva. With this build up, when Padma showed how he tried and how he failed and how he reacted to it, the effect was hilarious.
Typical ‘Padma’ style
The deeply philosophical kriti ‘Brahmamokate’ followed with the typical ‘Padma’ stamp. The verses came alive in her depiction and she firmly drove home the point that the Absolute Brahmam is only one. The music suited the meaning of the song with due emphasis on the message of Annamayya.
Padma did the role of the kurathi Singhi in ‘Viralimalai Kuravanji.’ The story revolves round the princess Rajamohini who is tormented by the arrows of the Cupid. Her sakhi, Suradhavalli, offers to bring in the famous soothsayer Singhi to give her hope that she will be united with her lover.
Padma as Singhi revelled in the role and emerged as the queen of humour. Actor Vineeth portrayed a colourful picture of Singhan, the Kurathi Singhi’s husband. Padma proved beyond doubt that she is a treasure house of imagination. She strode on the stage like a Titan while the other dancers dwindled into insignificance. However, the over all reaction was more of admiration than enjoyment. Gayathri Kannan gave effective vocal support besides donning the role of Suradhavalli convincingly.
Printer friendly
page
Send this article to Friends by
E-Mail
Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
