Skilful display

  • G.S.
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Dance Aparna Dhulipalla made an impressive comeback on stage.

Aparna Dhulipala
Aparna Dhulipala

Aparna Dhulipalla, an IT professional got back on stage after considerable gap last week at Ravindra Bharati. Carnatic singer Swetha Prasad proved a great asset to the show in carrying sahitya import with melody, clarity and perfection. Her voice and Aparna’s dance looked as though they were made for each other.

Aparna opened her Kuchipudi recital with a fine jati preceding the presentation of Thyagaraja Kriti Sri Gananadham Bhajamyaham in Kanakangi for interpretation. The jati spells from her guru Venkat in between charanams, were matched by her precise footwork, assuring a great show in the offing. The Kshetrayya’s padam, Inta Poddaye in Varali, Triputa talam, a pure abhinaya number needing posturing of heroines at different stages as ‘Parakeeya’ first and later ‘Abhisarika’ and ‘Virahotkhantita’. Her depiction of the heroine awaiting the arrival of her lover (Srikrishna) and then undergoing transition in her moods reflecting her long wait for him was impeccable. The depiction of nature’s beauties like sun set, appearance of moon in skies, birds cooing, cattle returning home and so on, thus every word finding perfect interpretation. This being a vilambakala kriti, Aparna had enough time to present entire drama in satvikabhinaya in all its details like displaying her anxiety, wearing her ornaments, beautifying herself, and then as disappointed girl undoing all her make up and resorting to disturbed slumber – all a skilful display.

Aparna then went to present ‘Simhanandini’. The presentation of this number by Aparna needed redoing the stage, laying a screen on the floor with coloured powder spread over it. The dancer created picture of lion’s head, while dancing on the net. Aparna never looked down to check whether she was drawing right picture. The rendition of song Katyayani, Sarvani, Sumangali was set to rare group of talas in gati bedha and kala bedha structure. Swetha’s sweet rendition, Venkat’s crisp nattuvangam to Sridharachari’s mridangam accentuated its impact. Others in the ensemble were Venkatesh on flute and Murali on violin.




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