NEWS - VIEWS - REVIEWS |
Sculpturesque Karanas brought out with care |
Lakshmi
Viswanathan’s thematic production ‘Chidambaram’, the adobe of the
cosmic dancer Lord Siva, was recently staged at Bharat Kalachar. Lyrics from
Tamil literature as Tirumoolar Tirumandiram, Tevaram, etc were well-compiled to form a thematic presentation of such sort. The production also
included promising talents such as Hariharan, Harini, Vijayan, Anusuya,
Jayanthi, Roopa, Rajesh and so on, who, by their competent skills in dance
and their acrobatic movements brought out the episode of
Pathanjali and Vyagrapadar well. Further, their description of the cosmos and
the temple complex with its four entrances, decorated with the Karanas (the
dance poses) on either sides were enthralling.
The choreography needs special appreciation. In the modern world of cranes and satellites, it is easier to build a multi-storied building. But those were the days when thousands of labourers would have been employed to erect the high temple towers and sculptors would have taken immense pains to erect those beautiful sculptures. In short, one can say that the young dancers took the audience back to the days when the Chidambaram temple was actually constructed. The efforts of the sculptors of those days were brought alive on stage. Mayavaram Shankar on the
mridangam, gave ample support with lively fillers and Pharans that added flavour to the dramatic presentation. Roja Kannan, a
disciple of Adyar Lakshman gave concrete support on the Nattuvangam that
were apt for the Though the
programme was a grand success, Lakshmi Viswanathan failed to formally introduce the
co-dancers and the members of her orchestra, which she finally did after
Mrs. Y G Parthasarathy’s promptings. However, by the time she got round
to it, it was found that the young
dancers had already left the auditorium. An acclaimed artiste of her rank
should also remember that no dance recital is a one man / woman show but is
pure teamwork. |
Lakshmi V N |
Posted on 17th January 2000 |
|
|