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Firm steps
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REVIEW Devi exuded confidence and conviction in her dance disposition
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The Bharatanatya marga as conceived by an able performer, researcher, writer and Guru Jayaa of Natya Darpana and the same executed by her youthful disciple Devi C. Aithal was effective. Performing at the ADA Rangamandira Devi exuded confidence and co
nviction in her dance disposition. Blessed with an attractive countenance, Devi’s performance had plusses in the differently profiled Pushpanjali (Valachi, aditala), alarippu (mishra chapu) and Ganesha stuti (Naa). Varieties of aduvus resonated with solkattus and swaras appended to Sri raga jatiswara in khanda chapu. The ragamalika shabda was an useful preamble for the pada varna.
Despite one or two misses, Devi’s rigorous and caring training under Guru Jaya must be appreciated for firm emphasis on line and araimandali. The Papanasham varna, spun around the opening line “Swami naan undan arimai” (Nattakuranji) interpreting the nayika submerged in the waves of love, acquired an unfractured emotional quality with brilliantly dealt parts of nritta, nrithya and abhinaya. With apt karanas, charis and angaharas the gradual build-up of tempo in both dance and mood could be had.
The dancer was too sensitive in capturing the picture of a pining Radha on the basis of a Jayadeva Ashtapadi “Radhika tava virahe Keshava” (Shivaranjani). The Kannada pada “Adigo barutihane” (ragamalika) was availed to depict the sequences of Seetha Kalyana and the breaking of Shiva’s bow.
Devi could easily deal with a Telugu pada “Choodave” in which a parakeeya nayika, in full love with Krishna, transforms herself into a swakeeya. Her enactment was admirable. The kantha bedhas, charis and pleasing nritta and mukthayis added sheen to the concluding Dhanasri tillana. Guru Jayaa (nattuvanga), Srishuka (surprisingly he was not at his best), Somanna (violin) and Sarvottham (flute) did exceedingly well.
M. SURYA PRASAD
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
