That art has gained a significant academic approach is doubtless. With the increasing number of artists in the Indian classical dance arena, it has become vital to be equipped with the necessary tools to make a mark as a performer, choreographer and teacher. But not many young dancers and teachers have a comprehensive knowledge of the form, stage presentation, art management and choreography. With an attempt to introduce and discuss these significant aspects, senior dancer Lakshmi Ramaswamy, a disciple of Chitra Visweswaran recently organised a two-day workshop ‘Chatur-lakshana’ at her 21-year-old institute, Sri Mudhraalaya.
The first day focussed on rare texts on dance and she took Tolkappiam and Koothanool for discussion. Though most dancers refer to the Natyasastra and Abhinaya Darpana, there are many texts on the art that are lost, forgotten or available in bits. According to the researcher, who is a Senior Fellow at the Ministry of Culture, the earliest available grammar text in Tamil, Tolkappiam has dealt with rasa in a section called ‘Meipattiydal’ and lists eight of them whose nomenclature are also different from that of the Natyasastra. For example, nagai (laugh), azhugai (weep), uvagai (joy) and so on.
Koothanool, written by Koothanoor Saattanaar is the only dance text that mentions ‘theatre is a
component of dance’ and deals with rasa in its section called ‘suvai nool’. Although the terms and connotations used may seem difficult to many, the handouts provided at the workshops helped the participants. The biggest takeaway of Day one was that while sringara is the first and a major rasa in Natyasastra, it finds place in Tolkappiam as one of the four causatives of pleasure.
The second session of the day was a
lively one where the dancers too got to try out performing various characters such as Sita, Ravana,
and Vibhishana.
The workshop also discussed the importance of reading and interpreting poetry. “It helps the dancers to think, visualise, understand the many layers in the verses and project the many shades of a character.
The next day started with a session on tala. That the universal cycle of four could form the ground for a complex cycle of tala was fascinating. The beauty of the tala was heightened when it was used to depict animal movements. The final session was on lights and choreography. Titled ‘lightscape’, it was
an attempt to provide a holistic approach to dance. Different types of equipment, their functions and layering a visual presentation were part of this session. From the advent of the limelight that were used around the 1860’s to electrical lighting, the lecture was loaded with information. How to plan colour, intensity and distribution of lights based on choreography, availability and one’s wallet was put forward in a lucid manner. Other important aspects that were discussed included how to create shadow effect, when must one opt for cross lights and what are the pros and cons of using LED lights. The blueprint of a stage, along with its components, proved handy.
The workshop ended with distribution of certificates.
