Light plays a very important role in everyday life of all living beings and their activities. The world of performing arts is no exception. Imagine you are in a room with no light, which means you cannot see anything. Now if you turn on a single bulb, then all the focus would be towards the area emitted by the bulb. Add another bulb which will widen the focus and then we add another. Slowly as and when the lights are turned on, the visibility increases. What seemed to be sober with single light now seems to be brighter with many lights. The beauty of the place would have slowly unveiled. This is exactly what happens when we look back into history. The journey from a lamp as a source of light to modern equipment has seen varied improvements over the years. The advent of technology in the 21st century has led to many inventions with regard to stage lighting in performing arts. Theatre in India emerged as classical, rural or folk and modern theatres during different times. These theatres played a very important role in protecting the day-to-day life of human existence in their own ways. Presentation of a theatrical concept followed elaborated aspects of Natyashastra during the classical period and the folk theatre depicted the rural characteristics whereas the contemporary /modern themes, some influenced by western and some by our own mythology were projected by amateur theatres. Aesthetics plays a very important role in performing arts. Even during the times when there was no stage or the modern technological stage lightings the performances used to happen entire days and nights. Understanding how the natural ambience and illumination would have added beauty to the theatrical performance during those periods and is the current technology been able to add more value to the performances as most of them have now moved to the proscenium stage. Were the old ways of stage lighting more subtle and effective? Does the current modern technological advancement add to the aesthetics of the performance.? These are some of the questions the researcher wants to answer as part of this research paper.
Rashmi Krishna Thaper is a promising Dance research scholar, discussed the Vyayama's in dance and its basic reference found in ancient treatises.
The present study is Mphil research and presented in Dance Research symposium conducted by Noopura Bhramari and Kalagowri on August 2018. The study is about the journey of Sthanaka concept from Marga tradition to Desi of Medieval custom, their forms and adaptations in the contemporary style of Indian Classical Dances as stated in the treatises.
The present article addresses the issues and challenges faced by the researcher during the primary and secondary data collection through survey and interviews conducted on current condition of dance education in schools of Bangalore. The nature of this study is mostly quantitative and there were need of survey through observations in dance classrooms. Also there was a requirement of qualitative data to be collected, hence interviews of teachers, management person and parents were conducted. Major challenges are categorized in order to the process of data collection (primary and secondary) in this paper. The issues and objectives of this research study are related to the provision of dance education in schools of Bangalore is an ignored area in terms of dance curriculum, dance pedagogy, teacher’s incompetence, and school management hierarchy. Apart from these majorly pointed issues, there were always other hurdles which were seen in the journey of data collection in terms of time and schedules, research expenses, availability, accessibility & feasibility of data, strict rules in school policies related to the security of students or may be fear of revealing the ignorance of dance education and disorder of dance department and mindset and the formalities in Government department for permission etc. This paper is further arranged in order to explain the nature of study, articulation of objectives for the purpose of study to clarify scope & sequence and identify the research questions, extended review of literature, methodology employed for the study, sampling of participants, challenges occurred during the data collection, analytical study and finally to provide the conclusion to the paper.
There may be many authors for various kinds of hastas and the usage might also be varied but the great sage Bharathamuni is the true originator. The study of various treatises on dance authored by knowledgeable scholars will be fruitful as one can have a variety in actions, gestures and movements with a touch of novelty within the frame of shastras. The performance which would last for hours at a stretch in age old days has presently been limited to less than two and a half hours due to time constraints. The need of the hour is crisp presentation and to be precise in gestures. The knowledge of availability of more hastas in treatises of different centuries would help one to be apt in abhinaya. The search has been taken up with the prime objective to technically enhance the hasta language of Bharathanatya with the background of the study of hastas in additional treatises and analyze their implementation at the right context in Bharathanatya. Further to create awareness of the vastness of Hasta-abhinaya according to the shastras. A comparative analyses of hastas in all the treatises taken up for the study is to be brought forth. Finally, it is to be made available to be used as a comprehensive guide at a glance. The study is also based on the practical performances of Bharathanatya.