Evoking the navarasa
The Hindu
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 in the mind long after the online session was over. In Sri Rama Karnamrtam, the poet describes how Rama experienced Sringara when he saw Sita, felt valorous when he broke the bow, was surprised when the monkeys built the bridge, and angry over Ravana’s evil deeds. Priyadarsini brought out all these emotions clearly, communicating more through her eyes. Priyadarsini, dressed in a grey Kanjeevaram sari, did the abhinaya sequences seated on the floor and with masterly understatement. One could understand and experience Rama at every point. This is what good art is all about — getting the perspective right. The webinar series on Navarasa was conducted for members of NavaDarshana. With her thorough approach and refined technique, the senior dancer took the participants through the theory of communication. Rasa in the audience is created through Vibhava (determinants), Anubhava (voluntary responses) and Vyabhichari Bhava (transitory emotions such as stories, etc) — tools of abhinaya used to communicate the sthayi bhava of the composition. An experienced dancer will go beyond the theory to understand a composition and interpret it. Priyadarsini says that a dancer not only expresses but also experiences rasa within.More Related News