Features: Magazine | Literary Review | Life | Metro Plus | Open Page | Education Plus | Book Review | Business | SciTech | NXg | Friday Review | Cinema Plus | Young World | Property Plus | Quest | Folio |

WORKSHOP

Photo: S. Gopakumar

Story time Richard Tremblay and Bruno Pacquet put up a riveting show for the spectators

Organised by Alliance Francaise de Trivandrum (AFT) for the second time in two years, a dance workshop, ‘From storytelling to story-making’ was in progress. Conducted by Richard Tremblay, a Kathakali artist and a choreographer of contemporary dance, the workshop was divided into a demonstration and a series of video excerpts. Composer and seasoned percussionist Bruno Pacquet accompanied Tremblay on the chenda.

The demonstration itself had Tremblay performing two pieces of dance he had choreographed. With a slight smile playing on his lips, his eyes and fingers portrayed meditation and peace in the world. In this first piece, the gentle, yet evocative Kathakali mudras shone brilliantly through Tremblay sitting almost motionless. The second piece was contemporary and involved more footwork. Interestingly, while the first piece had no music at all, the second incorporated traditional bells.

The entire demonstration attempted to analyse the role of narration in dance. Interestingly, music adds to the narration, though not always directly. As Tremblay pointed out, dance itself is a language — no word or music is always necessary.

The second section showcased some excerpts from dance productions choreographed by Tremblay. ‘For the stubborn wife,’ a duet, had very fluid movements that dramatically transformed into energetic and intense movements. ‘Sarpa,’ a solo performance, was remarkable for the dancer’s hand movements that reflected those of a snake. As Tremblay later explained, this piece adapted a “totally different approach to narration.”

In most of the pieces, 60 per cent of the sounds were Indian, said Bruno Pacquet. Besides the chenda, one could also hear the maddalam, the edakka and the tabla.

What followed the workshop – the interaction with the audience – turned out to be the most interesting part of the evening.

“I don’t mix Kathakali and contemporary dance… I want to develop my own language,” clarified Tremblay.

The discussion got more interesting as another eager member of the audience, a Bharatanatyam dancer herself, wanted to know why contemporary dance was so monotonous and lacked the “variety” of say, an Indian classical dance. In response, Tremblay drew attention to the difference between Western and Indian styles.

As more and more questions poured in, the dance workshop proved the crucial role of the audience. That no performing art truly succeeds without the audience understanding it.

Printer friendly page  
Send this article to Friends by E-Mail