Krishna’s Epic Pose : A Creative Imagination скачать в хорошем качестве

Krishna’s Epic Pose : A Creative Imagination

अंसालम्बित-वाम-कुण्डल-भरं मन्दोन्नत-भ्रूलतं किञ्चित्-कुञ्चित-कोमलाधर-पुटं साचि-प्रसारेक्षणम्। आलोलाङ्गुलि-पल्लवैर्-मुरलिकाम्-आपूरयन्तं मुदा मूले कल्पतरोस्-त्रिभङ्गि-ललितं जाने जगन्-मोहनम्॥ With his earring resting on his left shoulder, his creepers like eyebrow raised , his soft lower-lip slightly pursed, his eyes casting side-glances; he moves his delicate bud-like fingers on his flute and joyfully fills it with his breath; he stands at the foot of the kalpa·taru in a charming tri·bhangī – I know him, the one who enchants the entire universe! The above verses of Leelashuka is enacted in Bharathanatyam abhinaya with few highlights on the different aspects mentioned in the poem. Here is an example of how creatively a dancer can build an entire story around just one pose of Krishna that is described in the poem. It finally concludes on an elaborate portrayal of how the entire universe from all the Gods to the people of Gokula respond to the mesmerizing pose of Krishna. Text : Leela Shuka Language : Sanskrit Choreography & Performance : Nirupama Rajendra Music : Kashyap Nayak Vocal : Ranjani Vasuki Flute : Mahesh Swamy Veena : Gopal Mridangam : Balakrishna Nattuvangam : Medha Varakhedi Venue : Udupi Paryaya If you are curious to know how I build a choreography for a solo expressive dance performance, here is a sample of how I work. First, I read the words of the poem and the intended meaning behind the verses and plan a structure on how I can present the song. I see how creatively I can develop the situations and use of appropriate movements on stage with the right emotions to combine. Then I mark the number of repetitions and send them to the musicians requesting them to sing in particular Raga (Melody) & phrases of melody to show the elements. Then at rehearsals I walk them through the various aspects that I would be enacting, describing verbally the story line and key actions. The musicians then plan their parts of rendition (vocal, percussion and orchestration) and we try once or twice as to how it comes together and communicates as one entity. Many individualistic minds with good talents in varied forms (Mridangam, Vocal, Flute, Veena, Taalam) come together with one mind & aim to communicate one idea. Isn't this process beautiful?! An Abhinaya composition is partly prepared and majority is improvised during the performance on stage. For example, the number of times the lines will be repeated with varying actions and by God's grace if spontaneous imagination extends then timing of the actions/expressions/ interpretations changes and for this musicians have to be alert to support appropriately. If you watch the video, some of my actions/interpretations happens before the words of the song begins. So, in such cases what determines the music will be my action. The expressions will be in one continuous flow and with one main state of emotion (Sthayi Bhaava) whether with song or with just instrumentation and all other supporting actions or emotions (Anubhaava, Vyabhichaari, so on) will be fleeting and adding to the core theme. So, what goes behind is a highly interesting, artistic, intellectual, creative process that brings forth an amazing art creation which our audiences get to enjoy the final fruit.