This unique actor’s training program, designed by G. Venu, celebrated its centenary batch, with participants presenting their talents at Natanakairali’s refurbished space.
There is something magical in watching a classical performer without the embellishments of ornaments, costume, or make-up. Just the primeval body presenting its innate expressions. The experience becomes deeper, especially after the performer has gone through the corridors of an intense actor’s training program like Navarasa Sadhana.
G. Venu, the Kutiyattam scholar, performer, and acting trainer who designed Navarasa Sadhana, the unique actor’s training program that traces its origins to the ancient treatise of Natya Sastra as well as the indigenously developed actor training methodologies that evolved in Kerala, has now completed the training of 100 batches of the course. Upon completing their training, the participants of the 100th batch made presentations of their individual talents at Natanakairali, which also became the first event to be held in its refurbished space.
Soulful expressions
The performances on the first day opened with a Mohiniyattam recital by Kalamandalam Amalu, a talented young dancer from the Thrissur district, who received her training from Kerala Kalamandalam under the gurus including Kalamandalam Leelamma and Kalamandalam Haimavathy. Amalu, who is currently receiving training under Guru Nirmala Paniker, presented an abhinaya composition, ‘Poothana Moksham,’ choreographed by Kalamandalam Rachitha Ravi. A take on the classical story of the demoness Poothana and infant Krishna, the composition set in ragas Mohanam and Neelambari and Adi tala, with lyrics taken from an Attakkatha composed by Aswathi Thirunal Rama Varma, the piece provided Amalu with ample opportunities to present her acting skills freshly honed through the practice of Navarasa Sadhana.
This was followed by another Mohiniyattam recital given by Ameena Shanavas, a disciple of Nirmala Paniker. Hailing from Ernakulam, Ameena Shanavas was trained in Mohiniyattam initially under Shyamala Surendran and has participated in many prestigious festivals and events. She presented ‘Chandanam,’ choreographed by her guru. ‘Chandanam’ had been removed from the original repertory of Mohiniyattam, the dance form practiced by the devadasis of an earlier historical period, due to various social and aesthetic changes during the 20th century. Set in raga Saurashtra and Aiyadi tala, the delineation of ‘chandanam’ by Ameena was notable for its simple rendering without the embellishments of costume or make-up.
Afterwards, Kruthi B.K., a Kathak performer from Bangalore trained under Rajendra and Nirupama Rajendra, presented ‘Rasa,’ a ‘Nritta’ composition, set to teen taal, choreographed and composed by Prashant Shah from Allahabad. This was followed by an experimental composition based on a ghazal, ‘Hey Aankhonki Rangath,’ depicting a heroine waiting for the return of her long-departed lover. It was choreographed and composed by Renu Sharma.
Carrying on the celebration of Sringara rasa, Gaurav Bisht, a professional actor, screenwriter and poet hailing from Uttarakhand and presently based in Mumbai working in theatre and Hindi film industry, shared some of his poems with the audience.
The evening concluded with a Thillana from the Bharathanatyam repertory presented by Kalamandalam Amalu, set in Raga Kathanakuthoohalam and Adi tala, choreographed by Amalu herself.
Diverse artistry shines
The performances on the second day started with the Pune-based Bharatanatyam performer Radhika Mulay, presenting two compositions. Firstly, ‘Yathi,’ set in Ragamalika and Talamalika, conceptualized and choreographed by Shreejith Krishna, with lyrics by Nirmala Nagaraj and music by S. Rajaram. This was followed by an abhinaya composition, ‘Ra ra chinnamma…,’ an Annamacharya kriti choreographed by Janaki Rangarajan, set in Senjurutti raga and Adi Tala.
Afterward, Rajamouli Dixit, a Mumbai-based writer, photographer, filmmaker, and actor hailing from Jabalpur in Madhya Pradesh, presented a story he had written. The next performer was Deepthy Hathwar PV, a Bharatanatyam dancer from Bangalore, who presented ‘Sakhi Re…,’ the Ashtapadi from Jayadeva’s Gita Govindam, set in raga Navarose and Mishra chaapu tala.
Aajay Mehra, a Bollywood and television actor based in Mumbai, presented a poem he had written about his encounter with the people and places in Irinjalakuda and about Natanakairali. The last item was ‘Lab Mouse,’ an Experimental Kahani presented by Sanjay Goswami, Sahil Yadav, and Jojo Jose, written by Sanjay Goswami. All three are actors with backgrounds in theatre and film.
