The story of Krishna has always been an artiste’s delight. He fits the bill for more than one reason — his character and persona is not just colourful but also multi-dimensional. Going by the Bhagavat Puran and the epic Mahabharata, Krishna emerges as a super hero of His times and a guiding force of our times since there are many facets to his character that are applicable to the present day state of affairs and our responses to them. Perhaps, it is this universality and appeal that makes Shobha Deepak Singh revisit the Krishna ballet again and again. And there is no dearth of audience year after year, which goes without saying that both the dance drama and the persona never fail to impress, coming as it did on the eve of Janmashtami.
Reflecting on the journey, Singh says, “The first Krishna ballet was presented in 1977 to a full house and we have seen the same interest in Krishna’s life year after year. This is the 41st edition of the ballet and the passionate zeal to present Krishna every year arises out of the paradox of his dual personality. His leela (divine play) is the outcome of the Bhakti movement. On the other hand, there is the statesman Krishna who embraces divine intervention in the war of Mahabharata. In today’s times, where wars are still fought over on issues — both micro and macro, it is Krishna’s message (the Bhagavad Gita) that continues to be relevant. The story of Krishna cannot change, but yes, with time the focus is less on him as a mischievous child and more as a statesman. Because what Krishna taught during the war of Mahabharata is true for all times — do your dharma (moral duty) unconditionally. Of course, the entire set design, costumes, sound, music all have been upgraded with each passing year.”
Shobha Deepak Singh
Constraints of time
Here, within the constraints of time, the theme broadly dealt with just two stages in two different places — childhood and adulthood; Mathura-Vrindavan and Dwarka. Lilting dance and song punctuated by pranks for which Krishna was known marked the first half. The multiple Krishnas on stage each with a gopi (Rasleela), the dandiya dance, the ethereal looking gopis who are constant adoration of the lord, his mother Yasoda who is torn between unconditional love for the child and her responsibility to mother him and chide him for his mischievous pranks went down well with the viewers with melodic music, lovely lighting technique and excellent dancing by all those on stage.
Shiburam Mohanta and Geeta Bhatt as Krishna and Radha looked ethereal, danced with a swing in their step and went straight into the audiences’ hearts. The link to the second half is Radha-Krishna’s separation wherein he hands over his bansuri (flute) to her as his parting gift to justify his sudden decision to end all love and frolic; to move away to a distant Dwarka leaving his foster parents (Yasoda and Nand) in grief. The emotional parting scene was a little long-drawn perhaps to get the depth of the relationship and its end across to the viewers in a convincing manner. Rukmini-Krishna marriage episode occupies a major role in Bhagavat Puran, more than dallying with Radha which is popular lore vis-a-vis authenticity of Bhagavat in Krishna’s biography. Rukmini could have been made the link to life at Dwarka rather than prolonged Krishna-Radha romance.
Perfect transformation
The transformation from the playful blue boy of Brindavan to the astute king-maker and mentor (essayed by Rajkumar Sharma) at Dwarka was brought out with as much perfection as an artistic medium could allow. Says the lead actor, “I have choreographed the ballet along with Shobhaji and yet when I go on stage, my mind races and worries about the next scene — are the actors ready? Will everything else like costumes, sound, light go right? As a performer, I know there are more than a thousand eyes watching me; and I have to keep their interest brimming, never allowing it to flag! I meditate to keep myself calm before I go on stage. Essaying Krishna for this many years, I’m able to be confident and disburse the sense of joy through my role to my audience, many of whom come up to me after the show just to convey their happiness and blessing.”
The Sudama episode as usual is a popular one and like all other Shobha Deepak Singh’s plays, this character enters the stage from aisle of the auditorium creating a flutter among the viewers. The dice game between Pandav and Kaurav families was subtly signalled through a black and white squares drawn curtain that drops from the ceiling of the stage with bloodstains on it indicating the aftermath of this gaming. The best scenes were that of Duryodhan (in Kathakali style) and Bheem measuring each other up, maces drawn. The music replete with fast paced rhythm for all the battle scenes was superb. So was heralding the war represented through flaming red lights and digital backdrop. Bhishm lying down on bed of arrows was represented creatively through a stream of dancers carrying him supine on their shoulders with arrows stuck all over his body; the Viratroop scene was also magnificent and unlike the regular depiction-it had Krishna mounted on a higher level to one corner of the stage and behind him were white-robed dancers in single file with outstretched hands holding lit diyas making for a statement of the supreme being.
The ‘phaltas’, rotating in the air, mid-air jumps and agile postures-all part of Mayurbhanj Chhau went well with the theme of this ballet which was put up at Kamani auditorium.
