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Prekṣaṇīyam is authored by Śatāvadhānī Dr. R Ganesh and translated to English with additional material by Arjun Bharadwaj. This is a book on the Essays o...
Cindu – The word cindu means to jump or to leap; in the Telugu language, the word is also used in the sense of overflowing, springing up and pouring out.&nbs...
The daśa-rūpakas and many upa-rūpakas need to be staged using mārga-karaṇas, mārga-cārīs, and mārga-sthānakas; these have to come along with nṛtta-hastas as wel...
Chalika, cillī, cillikā, cillī-karma, or cillī-mārga – Abhinava-gupta defines this as a kind of upa-rūpaka rooted in śuddha-nṛtta – pure, non-representational d...
Upa-rūpakas (Continued) 10. Rāsa – Like goṣṭhi and hallīsaka, rāsa is a kind of Śrī-kṛṣṇā-līlā-nṛtya – a form of dance associated with the divine exuberance of...
Upa-rūpakas (Continued) 3. Prasthāna – the emotional states of apsaraḥ-strī or a proṣitapatikā are presented in a prasthāna. The story captures the pangs of se...
Prahasana[1], vīthī, and bhāṇa tickle the insides of the connoisseurs in different ways. Vīthī portrays the commotion, transactions, and humour that take place...
Let us look at the Indian theatrical tradition with the above perspective in mind; it will help us gain new and novel insights. Daśa-rūpakas[1] Sage Bharata h...
Bharata, through the words of Brahmā, defines nāṭya thus – trailokyasyāsya sarvasya nāṭyaṃ bhāvānukīrtanam. Nāṭya or theatrical presentation is an artistic acti...
• Just as a person has a mother tongue that lends itself for his natural expression, a certain pitch is natural for a singer. This sahaja-śruti, i.e., natural p...
Yakṣagāna artistes should bring in newer maṭṭus and saṅgatis that can cater to all different emotions[1]; to do so, they must take refuge in the classical rāgas...
The music scene in India has undergone quite some changes since the introduction of microphones and loudspeakers. In the pre-technological era, it was natural f...