When a master mind touches upon a subject, it emerges as a compliment to his creative genius. So it was with ‘Natya Rasanubhuti’, a thematic ballet which did not have a story to go by, yet breathed life and contour into an abstract artistic response called ‘rasa’. The classical structure of Kuchipudi intact, the signature ahaarya (costume), stately Sanskrit verses interlaced with a few regional (Telugu) lyrics lent a profound character to the theme which stayed so from start to finish without flagging an inch. The brilliant orchestra further enhanced the effect.
The leitmotif follows a gradual development: firstly elucidating and exploring Bharatiya natyam (dance) with guru as the pivot. The eight dancers on stage move in tandem to song and mnemonics falling into formations with utmost precision. Guru Raja Reddy’s forte is absolute adherence to taal which is so visible in each and every dancer who was on stage that it was sheer pleasure to watch the show. He appears on the pedestal against the backdrop as guru to the chant of the Gayatri (longer version) mantra and the essential principle of dance, viz. ‘yatho hasta tatho drishti...’ which gets expanded through mime, giving the impression of the importance of guru in the learning of this art. Then the dance moves on to the nine artistic moods imbibed in expression of dance-the navarasa each of which was elucidated by duo or single dancer with ample imagery to make the intangible into tangible.
The pair Pernia Qureshi and Ananya Khosla took up the Shringara (erotic/romance) rasa subtly striking amorous postures as the song went by giving room to the next rasa-an antithesis to love – veeram (valour). Mahesh with his brisk and energetic footwork was a fit artiste to the mood. Bhavana Reddy’s histrionics is commendable as she takes up the hasya (mirth) and bhayanaka (fear).
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Of skills and agility
The first few minutes footwork display to pure percussion before launching into expressive fear stood testimonial to her skills and agility. The tanam tones for karunya (pathos) rasa was melodic and the black and gold costume worn by the artistes as they danced vivaciously and then suddenly fell to the ground to denote sudden onslaught of death and accompanying pathos was a little too dramatic. Yamini Reddy chips towards the end miming the grief that takes its toll after life is snuffed out. The bheebatsa (gory) where Yamini took the story of Bheem killing Dushasan and devouring his entrails was a very striking instance of this rasa ably played out by the artiste. A mythological duel artfully executed by Sloka and Rashmi Vaidyalingam sufficed to convey roudra (fury) rasa. The gurus Radha and Raja Reddy took the stage to emote shanta (peace) and adbhuta (wonder) rasa respectfully. It is creditable that Radha Reddy moved across the stage to song with agility and the inner joy of dance was visibly evident in her body kinetics and her expressive countenance. Raja Reddy’s stances and abhinaya cheered the audience.
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Grand conclusion
The concluding group convergence to Shanti mantra was an apt finale. Lavanya Sundaram and Deevi Ravikanth on the vocal enhanced the show with their sonorous voice as was a compelling Bhaskar Rao on the mridangam. Ananta Krishna made his presence felt with the flute which was mesmerising at times. Raghavendra on violin, Satish on edakka, Kamal Ahmed on sarangi made for a wholesome orchestra while the commanding tones of Kaushalya Reddy vested the nattuvangam with potency. Kamani Auditorium played host to the 10 year celebrations of Hyderabad branch of Natya Tarangini.