At An Online Event, Priyadarsini Govind Showed How The Face Can Be Turned Into A Canvas Of Emotions
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 indignant over Ravana’s evil deeds. Priyadarsini introduced out all these feelings clearly, speaking extra by way of her eyes. Priyadarsini, wearing a gray Kanjeevaram sari, did the abhinaya sequences seated on the ground and with masterly understatement. One may perceive and expertise Rama at each level. This is what good artwork is all about — getting the angle proper.
The webinar collection on Navarasa was carried out for members of NavaDarshana. With her thorough strategy and refined method, the senior dancer took the contributors by way of the speculation of communication.
Rasa within the viewers is created by way of Vibhava (determinants), Anubhava (voluntary responses) and Vyabhichari Bhava (transitory feelings equivalent to tales, and so forth) — 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 Right
What we expect we’re expressing could 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 crucial level to recollect. To spotlight one other attention-grabbing level that we maybe know intuitively is that what’s expressed could also be completely different from what’s obtained, 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 could 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 state of affairs, character, and different components so as to add fullness and depth. This is how an artiste builds up the clean canvas of the stage.
The dancer demonstrated a couple of songs, primarily the pallavis, to point out how an concept might be conveyed in several methods. ‘Yaarukkagilum bhayama’ is a few lady who is just not boastful 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 pal how a lot she loves Krishna, and an overflowing vatsalya bhava in ‘Thumaka chalata Ramachandra’ between a mom and her son. Thanks to the digital medium, one may 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 have been contained, befitting Rama. Her abhinaya was like a seamless narrative, creating visible poetry.
