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for literary or emotional interpretation.
KUCHIPUDI DANCE DRAMAS
In a dance drama the story and its interpretation should hold sway. The dance, music and literature are judiciously blended in such a way as to achieve this. They are only a means to interpret the main story lien. There is no place for domineering by one department over the other at the cost of the story. Sri Chinna Satyam has successful accomplished this task. To understand this achievement better let us consider the important factors in the various dance drams produced by the Kuchipudi Art Academy, Madras.
SRI KRISHNA PARIJATAM
This was the first of the dance
dramas produced by Sri Vempati Chinna Satyam and staged hundred |
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of times. The story line is very thin, the libretto and music in this are the collective efforts of many.
Some dharuvu-s of Bhama Kalapam - Lekha the traditiona Neela Mega Shareera, are used without changes. The introductory Sandhi Vachanam is replaced by a scene where Narada presents the Parijaatha flower to Sathyabhama. Her sulks, Sri Krishna promise, the consort's altercation, Narada's word of advice follow and the dance drama finally ends on the note of Sathyabhama's repentance. Natya plays a dominant role throughout. The use of traditional Dharuvu-s, the wordy-duel verses and songs of later addition are all set to imposing music. It has retained the original Yakshagana
flavour.
KSHEERA SAAGARA MADHANAM
The play ambulates majestically on the support rendered in equal proportions by the music, dance and literature. The overall impression on
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would have is that the original audio presentation is given a visual treatment.
The number of scenes is less. The Aarabhi, Devagandhari, Poorikalyani, Kambhoji, Surati, Seindhavi scales are used effectively. The entrance of Mohini towards the end of the play give limited scope for dance. The "Idhigo Viswmohiru" dharuvu and the song "Raare Dhivijulaara" in Seindhavi scale are impressive.
MENAKA VISWAMITHRA
The music plays a dominant role. The impressive presentation by the Apsara-s in the court of Devendra both in terms of dance and music this one of the best classical Kuchipudi
items.
SHAKUNTHALAM
The music and literary portions of this dance drama present the true picture of Kalidasa's inner feelings. The Janjhooti, Naadhanamakriya, |
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Hindolas scales are effectively used to highlight the expected rasa-s, moods. There is not much scope for dance. With the Ghandharva form of marriage between Shakuntala and Dhushyantha the play comes to a end. Many emotional sentimental events and the major story line in the original work are left out. The connoisseurs fondly await a more comprehensive and complete presentation of Shakunathama from the academy.
PADMAVATHI SRINIVASAM
The production of this ballet was a turning point in the history of the
academy. It is a perfect blend of dance, music and literature, with all the salient features of the respective fields extensively and effectively put to use. The story allows ample scope for high drama as it depicts the life of Lord Venkateswara. As far as music is concerned all the popular features of Carnatic style like Kriti, Padam, Javali
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and even Ragam, Tanam and Pallavi are adopted as the situation warranted. Many raga-s that are not in vogue are employed. Music and libretto go hand in hand. The dance and the music in this ballet commanded popular appreciation, resulting in a number of performances.
CHANDALIKA
Chandalika is acclaimed to be one of the popular productions of the Academy. The characters are representative of the author's feelings and thus too fictitious to be
real. The music therefore is set to suit the mood of the author rather than the character and is essentially light, with flashes of classical shades. The music enlivens the rasa on hand with equally impressive lyrics.
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VIPRANARAYANA CHARITHRA
The story and the situtations permitted the use of such raga-s as
Anandabhairavi, Devagandhari, Gambheera Naata and Ahiri to highlight the
essential emotional element of the history. The Composition "Thuluva
manassaye thandri" set to Devagandhari in this ballet takes care of not
only the essential features of the raga but goes deep into the heart of the
connoisseur. Another compostion "Koluvaithiva Rangasayee" is so
popular on account of the musica rendition and scholastic, thematics
presentation that it is also presented as a solo item highlighting the Kuchipudi idiom.
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