Performing before a discerning crowd, Nritya Choodamani awardee Swapansundari enacted abhinaya that left an indelible impression. The navarasas were at her beck and call. With melodious voice, she rendered Pushpanajali Choornika in Nattai. She offered a riveting fare of expressional four numbers, each different in treatment and displayed her amazing command over mime.
She chose the Maratha King Shahaji’s Nindastuti ‘Maguva Oorakey’ in Gowlipanthu. The sakhi tries to dissuade Parvati from worshipping Siva, who is a pauper, a mendicant, has not enough clothes to wear, no place to sleep and begs… Still she does not see what is in store for her if she wishes to marry him.
Full of wit, sarcasm and humour, Swapna regaled the audiences portraying lovelorn Parvati and her worldly wise friend. She had audience eating out of her hands. Etching the character of Parvati who does not listen to her and continues to worship Siva, as a sakhi making fun of her and depicting Siva in humorous states, Swapna invested the number with imaginative sanchari bhavas. Her mukha abhinaya, the use of eyes and the hastas were so eloquent that audience was in splits watching the sakhi ridicule Siva.
Next came the Sampenge Mannaru padam ‘Tsakka danamey joochi’ in Khambodi raga. The nayika was not a khandita, but one who was not happy at her beloved Rajagopala, being enticed by a dazzling woman. She tells him not to fall victim to other woman’s charms, who in various ways would ensnare him. With exquisite sancharis, like a bee suckling honey from a lotus, forgetting that it would close its petals, that seductress would make him a captive. With her fish shaped eyes, she would as a fisherman throws a net to catch the fish, she would catch him. She warns him to be on guard because this dazzling dame would not spare any means to mesmerise him!
Traditionally abhinaya by Andhra Bhogam sani exponents, used to be performed while sitting. Swapna charmed the audience with her devastating impersonation of the other woman. So communicative were her expressions alternating from one character to another that one saw the plight of Rajagopala and the warnings given by the nayika in a telling manner.
But we all had to hold our breath when Swapna enacted the Telugu javali of Mysore Court by Thippanayya, ‘Pampavey Naa Vaarini’ in Jaunpuri, depicting a samanya nayika. Utterly earthy and aggressive, she tells the other woman to return her husband, whom she had taken away, when he had out of pity thought of helping her. But when he did not return, her fury knew no bounds. She knocked the door of the other woman and demanded her to return her husband in no uncertain terms. But that vile other woman, using her charms, pretended she had nothing. In anger the wife sent serpents, and even an elephant to break her door, but did not succeed in seeing her husband in the house. Then she saw him on a swing. She beckoned him and asked him to return. She taunted the other woman that she was a pativrata, who had and married him in front of fire. And holding her husband’s hand, she walked away with a victorious look. Swapna won rounds of spontaneous applause for depiction of both the women.
The finale, Krishnakarnamritam shloka in Hamsanandam, transported the audience to a sublime level. Describing each ornament of Lord Krishna and his physical beauty, Swapna unleashed wonderful comparisons turning her dance into visual poetry. The spell was only broken by the lengthy standing ovation from the audience.
