She cast a spell on the audience. Mothers went on a time machine and saw themselves running around with their toddlers. Others saw a piece of their mother or wife cajoling a tiny prankster.
Yes, the artistic exploration of the popular Devaranama, ‘Krishna Nee Begane Baro’ of Vyasaraya by abhinaya exponent Bragha Bessel was mesmerising. And, she justifiably received a standing ovation from the rasikas on the concluding day of the Sadhana-2014 festival organised by Indisha at the Narada Gana Sabha recently.
Bragha effortlessly transported herself and the rasikas to Dwapara Yuga and powerfully narrated the universal story of a mother and her child. Her abhinaya techniques depended on the action and reaction of Yashodha but all through the dance piece, audiences saw Krishna and Yasodha, and that was the artistry of Bragha. Personifying satvika she effortlessly donned several characters throughout the performance.
Bragha started her recital with the Telugu padavarnam ‘Manavi Chekona’ in Sankarabharanam which had as a prelude, aviruttam in Tamil. She became the nayika yearning for the attention of the nayaka, Siva. The subtle images given in the pallavi section are worth mentioning. The heroine sending a deer as a messenger to convey her love for her lord, and Siva, instead of hearing the message, holding the deer passionately in his left hand and majestically standing as the conqueror of ‘chitta chanchalya,’ was an interpretation not seen often in the delineation of this padavarnam. Likewise, the tears from the nayika’s eyes become a river and he arrests it in his matted locks. Bragha excelled in the portrayal of khandita nayika in ‘Yahi Madhava Yahi Keshava’, the 17th Ashtapadi of Gita Govinda.
Bragha concluded her recital with a padam in Tamil. She was ably supported by an array of talented musicians.
The organisers of the Indisha festival, Nideesh and Indu Nideesh, performed before Bragha’s recital. The stress of organising a dance festival had taken toll on the young couple’s performance. There were co-ordination errors and they faltered here and there while performing the varnam but did a neat job while executing their individual pieces. Nideesh was at home while displaying abhinaya for the Kalyani javali ‘Chitike Vesithe Nee Vanti Chelulu' of composer Sarangapani. Indu was competent in ‘Parulanna mata’ in Kapi.
The concluding Purvi thillana was crisp. It was illuminated with dexterously executed adavus, arudis and sculpturesque postures. Silence in apt places played a crucial role. The audience seemed to enjoy every bit of it. The costume worn by Indu and Nideesh were aesthetic.
