BHARAT KALACHAR
Captivatingly simple
RUPA SRIKANTH
|
For 90 minutes, Vyjayanthimala Bali transformed herself into a gopi reflecting her passion, enthusiasm and innocence.
|
PHOTO: R. Shivaji Rao
FULL OF DEVOTION: Vyjayanthimala Bali.
In a dazzling pink and purple checked sari accessorised with diamonds, veteran artist Vyjayanthimala Bali looked grand enough to be Lord Krishna's bride. She was indeed one - as Andal in `Sri Andal Sanga Tamizh Malai,' an unabridged version of the `Thiruppavai.' In the devotional hymn, Andal assumes the role of a gopika and performs the vratha in the worship of Goddess Pavai along with her friends, and for one-and-a-half hours, Vyjayanthimala transformed herself into that gopi, reflecting her passion, enthusiasm and innocence. There was so much devotion and it was so selfless that the show took the spirit of an upanyasam rather than a performance.
The thirty paasurams were compressed within a sensitive and melodious musical framework by the dancer and Madurai Krishnan. Many verses were treated as stand alone pieces and were separated by an entry and an exit. While this may sound tedious, it was actually not so. The verses flowed effortlessly without a break, the excellent music binding them together seamlessly. Vyjayanthimala's interpretation was captivatingly simple. Her warmth and involvement made the journey a personal one even as her beautiful, big, expressive eyes captured and conveyed the essence of the text. An uncle's home in the paasuram `Thoomani Maadathu' composed in Abheri ragam was brought alive with doopam and deepam brought onstage, while brief glimpses of both Devaki and Yashoda brought out one's misfortune and the other's joy in `Oruthi Maganai' composed in raga Neelambari. The dancer's quick movements with the cymbals in `Maale Manivanna' in Punnagavarali raga whipped up devotional fervour that reached a crescendo in the final `Vanga-k-Kadal' paasuram where Andal was presented as the worshipful one herself.
`Thiruppavai' was presented in five parts with five or ten similar paasurams grouped together. Broken up this way, the tableau was much easier to comprehend. The dancer interspersed some of the verses with nritta segments and highlighted others with simple props, but there were no shortcuts and no distractions. The presentation was a non-stop rendition of Thiruppavai in what one can say was a celebration of Sri Vaishnavism in its purest devotional form.
The orchestra had a lot to do with the programme's success. Vanathi Raghuram, vocal, was assisted by Jayshree Ramanathan, who was also adept with the cymbals. S.S.R.Krishnan, mridangam, and Kandadevi S.Vijayaraghavan, violin, were the support structures on which the edifice was built. The resource persons were: M.A.Venkatakrishnan and Bhooma Venkatakrishnan.
Printer friendly
page
Send this article to Friends by
E-Mail
Music Season
