Larger than life image
TULSI BADRINATH
|
With movements that covered the entire stage, Sailaja's performance attained new dimensions.
|
NEW DIMENSION: Sailaja. Photo: V. Ganesan.
Sailaja's Kuchipudi performance was vibrant and dramatic. From verses in praise of Ganesha to the Swati Thirunal composition describing Siva's dance, from the moving `Ksheerasagara Sayana' by Tyagaraja to Balamuralikrishna's Behag Tillana , Sailaja commanded attention. Each item was an improvement on what came earlier.
The distance at which the dancer's eyes were focussed, the position of her hands in various poses, along with movements that ranged over the entire stage, gave a different, expanded dimension to her performance. In `Sankara Sri Giri,' outstretched arm movements above the head brought to life Siva's cosmic dance. This item incorporated the traditional display of rhythmic movements on the brass plate.
The burning of Manmatha by Siva's third eye was done as a sanchari to the words `Bhasma Trinetra.' This was not suitable, because here those words are clearly just descriptive of the ash-smeared, three-eyed Siva. Sailaja was at her best while portraying Duryodhana, Dushasana and Ravana in the Devagandhari piece, `Ksheerasagara Sayana.' Arrogant swaggers, leering glances, evil smirks, demonic glee — Sailaja used all these expressions to evoke the array of villainous characters who appeared in turns on stage. The performance ended with a well-paced, joyous tillana. M. Kishore on the nattuvangam seemed at places not to match beat for beat the dancer's foot movements. Randhini with her singing, Haribabu on the mridangam and Muthukumar on the flute, provided Sailaja skilled support. The veena, a rare and welcome presence, was played by Bhavani Prasad.
Printer friendly
page
Send this article to Friends by
E-Mail
Music Season
