![]() | Reviews Back |
'Rathi- A Journey'- A Treatise on love Poetry For nothing, is 'Sringara' called 'The King of Rasas'. The endless possibilities of love, has inspired writers and poets over the ages. Love can be broadly classified as: 'rathi', love between man and woman, 'vatsalya', between mother and child, or 'bhakthi', love towards god. Manjari Chandrasekhar, disciple and daughter, of Prof. C.V.Chandrasekhar, presented a Bharatanatyam recital on love poetry in India. She picked poems from across the country, dated between the 9th and the 16th centuries. Besides the poetry of Vidyapathi, and Kshetragna, pieces from Amarushatakam, Vasantavilas, Kutban's Mrigavat, Bilhana's Chaurapanchashika, and Divya Prabhandam, were used.
A young girl reaching adolescence, discovers herself, and the world around her, anew. She is curious about love and it's implications. She falls in love with a man who reciprocates saying, '...just skirting down her street gives me the same pleasure as her embrace' (from Amarushatakam). The dancer here distinguishes the stages of love as the first meeting, the phase before fulfillment, and 'sambhoga', fulfillment. A beautiful interlude of music and dance followed, celebrating the season of love, in raag, Vasanth, 'Vasantha tana guna gahagahya', from Vasanthavilas. '... locked in his embrace, I do not even recollect who he was and who I was', sums up the passionate meeting between the young couple. Later, the nayika reminisces, and wonders, if such togetherness was for real, or an illusion. To illustrate this, a stanza from Mrigavat, 'Baran saath ek mrigi dekhi', dealing with the story of a prince falling in love with a doe, a symbol of illusion, is delineated. Both the nayaka, and the nayika suffer the pangs of separation. A mother's pain watching her daughter suffer is brought out in Thirumangai Azhwar's 'Oozhiyul perithal nazhiga' in ragamalika. 'Dard bichchode da haal', Punjabi poetry of Madholal Hussain, further highlights the pangs of separation. A folk tune, it was beautifully sung by Chandrasekhar with his full throated voice, brimming with 'shoka'. The nayaka returns, and the lovers are united. Disbelief and joy intermingle in Kshetragna's 'Ninnu jooda galigenu', in ragam Punnagavarali. The excellent orchestra consisted of: vocal, C.V.Chandrasekhar and Priyasri Rao, mridangam, Ranganathan, violin, Sivaganesh, and flute, B.Muthukumar. The aesthetic backdrop was made up of two large oil paintings, of trees in bloom. In hues of red and blue, one representing happier times, and the other with drooping flowers representing sorrow, were designed by Neelima Sheik and painted by Somen Das. It was a sincere effort by a talented artist. Her stylized abhinaya was very dignified, and convincing. But does pain take precedence over joy in love? The first meeting, and the process of falling in love, could have been dealt with more elaborately. Display of the courtship between the two protagonists would have helped convey the lighter moments of love. Nevertheless, this was a tremendous effort in terms of the subject matter, language, music, and choreography. |
Home |