At a web-based occasion, Priyadarsini Govind confirmed how the face may be become a canvas of feelings
Priyadarsini Govind’s ‘Rama Navarasa’ was a restrained and dignified presentation. It stayed within the thoughts lengthy after the net session was over. In Sri Rama Karnamrtam, the poet describes how Rama skilled Sringara when he noticed Sita, felt valorous when he broke the bow, was stunned when the monkeys constructed the bridge, and offended over Ravana’s evil deeds. Priyadarsini introduced out all these feelings clearly, speaking extra via her eyes. Priyadarsini, wearing a gray Kanjeevaram sari, did the abhinaya sequences seated on the ground and with masterly understatement. One might perceive and expertise Rama at each level. That is what good artwork is all about — getting the angle proper.
The webinar sequence on Navarasa was carried out for members of NavaDarshana. Together with her thorough method and refined approach, the senior dancer took the members via the speculation of communication.
Rasa within the viewers is created via Vibhava (determinants), Anubhava (voluntary responses) and Vyabhichari Bhava (transitory feelings corresponding to tales, and many others) — instruments of abhinaya used to speak the sthayi bhava of the composition. An skilled dancer will transcend the speculation to know a composition and interpret it. Priyadarsini says {that a} dancer not solely expresses but in addition experiences rasa inside.
Expressing it proper
What we expect we’re expressing might not at all times be so, as what we expect could also be completely different from what we categorical. Since Bharatanatyam makes use of a stylised, maybe even exaggerated, vocabulary of expressions, this is a vital level to recollect. To focus on one other fascinating level that we maybe know intuitively is that what’s expressed could also be completely different from what’s acquired, which is the distinction between the sthayi bhava and the rasa. Priyadarsini gave an instance from the Purananooru, the Sangam poems that talk of kings and warriors. The warrior neighborhood sends their youngsters to the battle — veera is the sthayi bhava right here, however what the viewers experiences is shoka (unhappiness). Or how generally an artiste might do one thing humorous or humorous, however it might invoke shoka within the viewers, as Kamal Haasan does within the movie Sadma.
She repeatedly identified that the sthayi bhava shouldn’t be seen in isolation and isn’t generic; it wants shading, with regards to the scenario, character, and different elements so as to add fullness and depth. That is how an artiste builds up the clean canvas of the stage.
The dancer demonstrated a number of songs, primarily the pallavis, to point out how an thought may be conveyed in several methods. ‘Yaarukkagilum bhayama’ is a few girl who shouldn’t be conceited however not afraid to be open about her relationship with the king. There was extra reticence in ‘Sakhi he,’ the place the heroine tells her buddy how a lot she loves Krishna, and an overflowing vatsalya bhava in ‘Thumaka chalata Ramachandra’ between a mom and her son. Because of the digital medium, one might get a clearer view of her nuanced expressions.
The crowning glory of Priyadarsini’s presentation was the Rama navarasa sloka, ‘Shringaram kshiti nandini’ from the Sri Rama Karnamrtam, sung by Rithvik Raja in an evocative ragamalika. Her feelings had been contained, befitting Rama. Her abhinaya was like a seamless narrative, creating visible poetry.
The Chennai-based creator writes on classical dance.