At two main auditoriums – Shri Ram Centre and Kamani – the 17th Bharat Rang Mahotsav presented dance theatre that gripped the attention of the audience. These productions were remarkable for elegance, poetic intensity and youthful energy and stunning imagery.
Based on Rabindranath Tagore’s short story entitled “Khata”, Lasya Akademi Dance and Theatre Repertory, Mumbai presented the production of same story with same title which was a visual and aural treat. It used the format of Kathak dance to convey the poignant story of a little girl Uma. All the elements of Kathak dance form and the accompanied soulful music are imaginatively blended with the narrative to convey the storyline.
The original story is adapted by eminent Kathak dancer Rajashree Shirke, who has directed, designed and choreographed the production. The colourfully designed costume imparts the production with an aura of grandeur.
The play moves round Uma, a little girl, who has great fascination to write on her exercise book. She is married to a man who writes most of the time of the day. Set in the 19th Century India, when women were not allowed to write and it was considered a taboo, Uma’s husband is highly conservative and blatantly objects to Uma’s writing on her exercise book which she took with her at the time of her marriage. The little bride Uma keeps on writing on the exercise book in a room bolted from inside.
Once she is caught and this creates upheaval in the house. The husband severely reprimands Uma for her act of defiance of taboo. To portray the character of little Uma, four trained charming young dancers are cast who reflect various facets of life of the character. Sutradhar not only narrates the story but also takes part in the action.
The most impressive aspect of the production is the way the legendary character of Uma, the consort of Shiva who is visiting her parents in a procession is used to deepen the agony of Uma who is constantly denied to visit her parents ever since she is married. The procession of legendary Uma is full of life, colour and stylised movements to the accompaniment of evocative music rendered in a mellifluous voice. Choreography, music and drama all contribute to project the image of little girl with wounded soul. Towards the climax the production projects a powerful visual imagery which reflects the collective defiance of all kind of social taboos and restrictions imposed on women. However, the performers’ space is squeezed by placing of three blocks on the stage, though the impressive orchestra is placed aptly.
Manava Bhagwat, Shruti Handa, Shruti Bhalekar and Shuchita Sakwaya have impressive stage presence. They project Uma’s sufferings with telling effect. Rajashree Shirke as Sutradhar frequently comes out from one role to perform another in an effortless manner, evoking various moods.
The CaseCentral Academy of Drama, China presented three short pieces at Kamani. Essentially a ballet in form, it opens with “The Case” which deals with the nature of human desire which is unlikely to be fulfilled. The second piece “Weeping Suo Ma Flower” is centred on the children living in an orphanage who feel neglected and have little hope of a bright future. They are fascinated with a flower called “Suo Ma Flower”. It is a kind of flower which blossoms in the mountain with nobody to tend them. They grow, bloom in hostile atmosphere. Using this flower as a metaphor, the production ends on a note of hope that these inmates of the orphanage will fully realize their potential as a human being. The third piece is a folk dance drama which depicts love, sad, beautiful and passionate through a variety of compositions.
The production is enacted on a bare stage with no stage property. This provides the young performers to act and dance without any obstruction. They display youthful energy, skill to execute graceful and swift turns. They all enjoy while forming complicated visual imagery. Indeed, these performers offer the audience a joyously exciting evening.
