This is a report on Panel Discussion held in Bharata Manoratha programme on February 3rd, 2019 at Kalagowri Auditorium, Bengaluru.
- ‘Kala samvada’ on “Music for Dance”, “Recent trends in Dance Research and Performances”
ಸಂಗೀತ ಪ್ರಬಂಧಗಳಲ್ಲೊಂದಾದ ಶುಕಸಾರಿಕಾ ಮತ್ತು ಅದರ ನರ್ತನೋಪಚಾರದ ಕುರಿತು ಪ್ರೌಢ ಸಂಶೋಧನ ಲೇಖನ ಇದಾಗಿದೆ.
Parakīyā is the nāyikā who does not belong to the nāyaka. This division, parakīyā is not mentioned by Bharata in Nāṭyaśāstra. Infidelity by a lady towards her man was considered as one of the pañcamahāpāpam-s yet today she is considered as the highest form of devotion. This paper will deal with the transition along with the earliest mention of this nāyikā in texts and important events in history which lead to the change.
Dealing with the practical aspects of the nāyikā, songs of different genres by famous poets is dealt with. The cause of rasābhāsa and bhāvābhāsa as stated by alaṃkārikās is adapted to this nāyikā and the activities which can be incorporated and the ones to be avoided while choreographing is also dealt with. Examples of a parakīyā nāyikā from alṃkāraśāstra is analysed to conclude an apt portrayal of this nāyikā.
Any two dance forms presented in a jugalbandhi would serve as interesting material for comparative analysis with respect to mutual technical adaptability and aesthetics. Here Dr Shobha Shashikumar analyse the comparative patterns of Bharatanritya and Yakshagana.
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