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ENRICHING EXPERIENCE Ramayana Darshana had a strong visual appeal

Giving a scholarly, lyrical lift to enhance the emotional contents of the theme the choreographer, Vasundhara Doreswamy, has incorporated works and compositions of vaggeyakaras and poets such as Purandaradasa, Thyagaraja, Yoganarasimha, Shri Rangayya and Kuvempu.

In addition, employment of many technical skills from her repertoire strengthened the visual appeal conforming to the required classical standards. The narration comprised all the salient sequences starting from the childhood up to the coronation of Lord Rama. Of all the representations, those that enlivened Dasharatha (Sandesh Bhargav - also performing Ravana) and Kaikeyi (Vasundhara) left the audience emotional. Entering into the relevant finer aspects as to the mental dispositions of the characters on hand, the accomplished artistes convincingly enlivened the brazenly adamant queen presenting her apparently rightful demands, and the heart-rending agony the king suffered in anticipation of the inevitable separation from his son.

Expressions of Vasundhara reminded one of Abhinava Guptha’s substantiation that natya is synonymous with anukirthana – a phenomenon wherein the expressions emanate out of a thorough transformation (merging) of the psyche of the artiste into the emotional states of the concerned character as a direct influence of vibhaava. This is opposed to anukarana (imitation .

Further, the role of Manthare (Varija Ramu) came alive in giving a turning point to the entire story. The other young artistes equalled the seniors in personifying Rama, Sita and so on. The whole show derived the necessary glitter from aesthetically framed jatis expanding into various attractive configurations to culminate in composite postures assumed in geometrical patterns (pindi bandhas).

Leading roles like Rama, Sita and so on needed realistic ahaarya for a more dramatic appeal – this was even necessary for an easy identification of the characters in a dance drama like this where many artistes were involved.

P. Rama (vocal), Varija Ramu (nattuvanga), Narayana (violin) and Tumkur B. Ravishankar (mridanga) constituted the music ensemble.

Anuradha Vikranth’s Bharathanatya as part of Dasara Mahotsava at the Jaganmohana Palace depicted Navarasa Nataraja as the prime focus on which the artiste intended to develop and materialise her imagination and artistry.

It was more colourful than absorbing – the form rather than the spirit of the art form appeared to have received prominence. Synchronisation, alignment, deep stances and so on characterised the nritha sections considerably well.

However, the abhinaya sections suffered for want of involvement and extempore. While portraying, for example, Roudra Rasa, the lead artiste successfully executed lively charis to arrive at prathyalidha.

Nevertheless, the facial expressions were inadequate. The transition from raudra to shaanta should have conveyed the changes clearly for a better impression.

Further, pre- recorded music cast its listless shadows retarding the manodharma, belittling the bhava and diluting the rasa.

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