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10.) What are the characteristic differences between the dance position and movements of kuchipudi and Bharata Natyam?
Two parallel schools of dance have existed since time immemorial, viz. Nattuva Mela and Natya Mela. The former evolved into Bharat Natyam and the latter into Kuchipudi. There is
difference in the presentation itself. The main difference lies in the abhinaya. The graceful, lasya oriented Kuchipudi gives importance to Vakyartha abhinaya go together. Bharatanatyam on the other hand is Mudra oriented and gives importance to Padartha abhinaya, each word interpreted through mudras. Certain movements are characteristic to Kuchipudi. Vachika abhinaya (use of words/dialogues) is also a special feature of the Kuchipudi style.
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11.) Are there also similarities?
Both Bharata Natyam and Kuchipudi, like other Indian classical dance forms have their roots in Bharata Natya Sastra. Hence they have a lot in common. Both follow the rules set in the treatise, so the Hasta Mudras, Pada Bhedas, Charis, Karanas etc and the fundamentals of Nirtya and Abhinaya are same. Both styles follow classical music and
talas.
12.) What are the difference and similarities between Kuchipudi music and classical Carnatic music (ragas, talas, musical forms)?
Kuchipudi music as mentioned above is based on the rich tradition of classical Carnatic ragas and talas. But Kuchipudi music has a distinct flavour of its own. The usage of pure notes and phrases in quick tempo is a characteristic feature of this style.
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13.) What about male and female roles?
Earlier though the temple and court dancers were women, in the interest of maintaining the lofty spiritual ethos of his Bhama Kalapam, Siddhendra Yogi inducted young Brahmin boys to perform his magnum opus. Hence the
female roles were also portrayed by the males. The practice of men in female roles continued for centuries for the performing troupes travelled far and wide and the travel conditions were primitive and not conducive for women. It was Vedamtam Lakshimnarayana Sarma, my Guru, who initiated women into this dance style and used them to perform the female roles. I have on m part given predominance to women in my dance dramas as well as solo dances. I have also inducted women to play the male roles in my ballets.
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14.) What about the repertoire?
Kuchipudi dance drama consists of ancient and contemporary compositions based on Hindu mythology. I have also choreographed and presented a socially relevant theme of un-touchability, based on Rabindranath Tagore's 'Chandalika'. There are over twenty Sabdams
prevalent in the style besides Kalapams, Jatiswaram etc. Kuchipudi repertoire has increased greatly in recent ears and include compositions of Jayadeva's Gita Govindam, Tarangams of Narayana Thirtha and Padams of Kshetrayya besides slokas from Leelasuka's Sri Krishna Karnamritha. Lately compositions of Thyagaraja, Annamacharya, Ramadas, Oothukkadu Venkata Subbayyar etal have found their way into the Kuchipudi solo repertoire.
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15.) What are the changes oradditions the Guru has made in Kuchipudi performances?
I am a firm advocate of tradition but I do not subscribe to the view that tradition is static. I believe that tradition can never before stagnant and should evolve with time. Keeping in mind the changing tastes of the
audiences, I have made use of the technological developments that are available today to make each performance a veritable delight to the viewers without losing the classical nature of the style. I have introduced symbolism and utilised modern techniques in stagecraft and aharya (costumes) that enhance the quality of the performance which have found favour with critics, connoisseurs and laymen alike.
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