భరతనాట్యం
వికీపీడియా నుండి
| ఈ వ్యాసాన్ని పూర్తిగా అనువదించి,తరువాత ఈ మూసను తీసివేయండి |
భరతవాట్యం దక్షిణ భారతదేశం లో వాట్య శాస్త్రం రచించిన భరతమువి పేరుతో పుట్టి, ప్రసిద్ధి గాంచిన ఒక శాస్త్రీయ నృత్య విధానం.
దక్షిణ భారతదేశం లోని పురాతవ దేవాలయాలలో శిల్పాలు భరతనాట్య భంగిమలలో అప్సరలు వాట్యం చేస్తున్నట్లుగా తీర్చిదిద్దబడి ఉంటాయి. పూర్వకాలంలో దేవదాసీలు దేవాలయాలలో భరతనాట్యాన్ని ప్రదర్శించేవారు.
విషయ సూచిక |
[మార్చు] విధానం
Bharatanatyam is the manifestation of the South Indian idea of the celebration of the eternal universe through the celebration of the beauty of the material body. In Hindu mythology the whole universe is the dance of the Supreme Dancer, Nataraja, a name for Lord Shiva, the Hindu ascetic yogi and divine purveyor of destruction of evil.
నాట్య శాస్త్రం లో ఇలా చెప్పబడింది (అ.44), "... నీలకంఠుడు (శివుడు) కైశికీ పద్దతి లో నృత్యం చేస్తుండగా నేను చూచాను. ఆ నృత్యం లో విస్తృతమైవ భంగిమలు (మృదు అంగహారాలు, చేతులు, కాళ్ల కదలికలు), (రసములు), (భావములు) ఉన్నాయి. ఆ నృత్యం యొక్క ఆత్మ (క్రియలు). ధరించే వస్త్రాలు అత్యంత మనోహరం గా ఉండాలి. (శృంగారమే) ఆ నృత్యానికి మూలం. 'మగవారికి ఆ నృత్యం నరిగా చేయడం సాధ్యం కాదు.' ఆడవారు తప్ప వేరెవరు దానిని సరైన విధానంలో చేయలేరు".
Bharatanatyam is considered to be a fire-dance, being the mystic manifestation in the human body of the metaphysical element of fire, is one of the five major styles that include Odissi (element of water), and Mohiniattam (element of air). The movements of an authentic Bharatanatyam dancer resemble the movements of a dancing flame.
Contemporary Bharatanatyam is practiced as Natya Yoga, a sacred Hindu meditational tradition by a few orthodox schools (see Yoga & Dance).
A professional danseuse (patra), according to Abhinayadarpanam (one of the two most authoritative texts on Bharatanatyam), must possess the following qualities. She has to be (1) young, (2) slender, (3) beautiful, (4) with large eyes, (5) with well-rounded breasts, (6) self-confident, (7) witty, (8) pleasing, (9) well aware of when to dance and when to stop, able to follow the flow of songs and music, and to dance to the time (thalam), (10) with splendid costumes, and (11) of a happy disposition.
[మార్చు] మధ్యయుగములో క్షీణదశ
Local kings often invited temple dancers devadasis to dance in their courts, the occurrence of which created a new category of dancers and modified the technique and themes of the recitals. By that time, most devadasis had already gone from being high-status life-long celibate priestesses (brahmacharya) to being lower-status temple servants who were allowed to have children from priests.
By the time of Mughal and British rule, many devadasis had fallen to the status of concubines or prostitutes.
[మార్చు] ఆధునిక పునరుజ్జీవన
Rukmini Devi Arundale raised Bharatanatyam to a puritan art form, divorced from its recently controversial past by "removing objectionable elements" (mostly, the Sringar, or the expressive Tantric elements) from some original styles of Sadir (such as Pandanallur, Tanjore or Thanjavur, Vazhuvoor, Mysore etc.), according to Shri Sankara Menon. A top contemporary dancer Alarmel Valli said, ``Though Chokkalingam Pillai often told us not to dance like a jadam (zombie), I suspect that the masters had to shed much of the full blooded quality of the repertoire to be accepted by the `respectable' Mylapore matrons".
The development of the Bharata Natyam dance form has therefore been surrounded by controversy as some including Ashish Khokar the Indian Dance Historian have seen it as means by which many women, often High Caste Brahmin women, have appropriated certain Devadasi traditions while disassociating themselves with other aspects of traditional Devadasi culture.[1]
Rukmini Devi Arundale founded the school Kalakshetra outside the city of Madras to teach it and to promote other studies in Indian music and art. She was one of first teachers to instruct a few men to perform the dance, which until then was the exclusive domain of women, while men, called Nattuvanars, had only been teaching Bharatanatyam without actually performing it.
Rukmini was also instrumental in modifying mainly the Pandanallur style of Bharatanatyam and bringing it to the attention of the West after being heavily influenced by Anna Pavlova, a Russian ballet dancer.
It is worth noticing that most of the contemporary Bharata Natyam dancers do not satisfy the criteria for a professional danceuse stated in the scriptures.
At present, Bharatanatyam recitals are usually not performed inside the temple shrine but outside it, and even outside the temple compounds at various festivals. Most contemporary performances are given on the stage with a live ensemble. In popular culture, the classical dance form of bharatanatyam is exposed largely through depiction in popular movies.
Learning Bharatanatyam nowdays normally takes 3-15 years before the arangetram. There are commercialized dancing institutes in many countries, including India, the United States, Singapore, Malaysia, and many others. The quality and cost can greatly differ. Many people choose to learn Carnatic Music along with Bharata Natyam as they go together.
At present, not only the Hindus but many Christians and Muslims learn it, bringing it beyond the rigid forms of religious boundaries.
[మార్చు] ప్రక్రియ
Includes
- అభినయము (mime) - dramatic art of story-telling
- న్రిత్త pure dance movements, reflecting different rhythms of the universe
- నృత్య combination of abhinaya and nrittta
[మార్చు] మూల సూత్రములు
Although most of the contemporary Bharatanatyam ballets are popularly viewed as a form of entertainment, the Natya Shastra-based dance styles were sacred Hindu ceremonies originally conceived in order to spiritually elevate the spectators. Bharatanatyam proper is a solo dance, with two aspects, lasya, the graceful feminine lines and movements, and తాండవము (the dance of Shiva), masculine aspect. Typically a performance includes:
- గణపతి వందన - A traditional opening prayer to the Hindu god Ganesh, who removes obstacles.
- అలరిప్పు - A presentation of the Tala punctuated by simple syllables spoken by the dancer. This really is sort of an invocation to the gods to bless the performance.
- జాతిస్వరం - An abstract dance where the drums set the beat. Here the dancer displays her versatility in elaborate footwork and graceful movements of the body.
- శబ్దం - The dancing is accompanied by a poem or song with a devotional or amorous theme.
- వర్ణం - The center piece of the performance. It is the longest section of the dance punctuated with the most complex and difficult movements. Positions of the hands and body tell a story, usually of love and the longing for the lover.
- పదం - Probably the most lyrical section where the dancer "speaks" of some aspect of love: devotion to the Supreme Being; or of love of mother for child; or the love of lovers separated and reunited.
- థిల్లానా - The final section is an abstract dance when the virtuosity of the music is reflected in the complex footwork and captivating poses of the dancer.
The performance concludes with the chanting of a few religious verses as a form of benediction. When a dancer has mastered all the elements of dance, as a coming out performance, he or she generally performs an Arangetram, which everyone in his/her institute attends. After that, he/she is entitled to teach and his/her lessons are finally over.
[మార్చు] Other elements
- ఆంగికము - From the ancient texts and sculptures, one can see that the original costume did not cover most of the dancers' bodies. The medieval times, with the puritanistic drive, caused the devadasis to wear a special, heavy saree that severely restricted the dance movements. There are several varieties of Bharatanatyam costumes, some of which do not restrict the dancer's movements, while the others do. The modern costumes are deeply symbolic, as their purpose is to project the dancer's subtle body, sukshma sharira (cf.aura), in the material world.
- సంగీతము - The music is in the Carnatic style of south India, "purer" than the classical music of north India (Hindustani music) only in the sense that it was not heavily influenced by traditions, like those of the Persians, from outside of India.
- Ensemble - Instruments for Bharatanatyam are more often found in the south than in the north. These include, the మృదంగము, నాగస్వరము (long black wood pipe horn made from a black wood), the flute, వయోలిన్‌ and వీణ (stringed instrument traditionally associated with Saraswati, the Hindu goddess of the arts and learning).
- భాష - భరతనాట్యములో సాంప్రదాయకంగా తమిళము, సంస్కృతము, తెలుగు మరియు కన్నడ భాషలు ఉపయోగిస్తారు.
[మార్చు] నృత్యకారులు
A professional Bharatanatyam dancer must demonstrate a number of qualities. As Sangitaratnakara puts it, the true dance is connected to the beauty of the body, therefore any other dance is simply a parody (VII.1246).
The AbhinayaDarpana has a sloka that describes Patra Prana Dasha Smrutaha - the ten essentials of the dancer: Javaha (Agility), Sthirathvam (Steadiness), Rekhacha (graceful lines), Bhramari(balance in pirouettes), Drishtir (glance), Shramaha (hard work), Medha (intelligence), Shraddha(devotion), Vacho (good speech), and Geetam (singing ability).
Natya Shastra (XXVII.97-98) provides a comprehensive description of a professional Bharathanatyam danseuse patra.
It is worth noting that the male dancers have rarely performed but often taught as nattuvanars. This reflects the traditional Indian view that the woman's body is better suited for performing the dance, while a man's mind is better at analysing and teaching it. It is related to the Purusha-Prakriti dualism embodied in the dualism of the human nature.
Not all Bharathanatyam celebrities fit the description stated in the sacred scriptures. Very few dancers continue to practise it sufficiently to be able to perform on the stage, therefore the majority of the dancers aged 40+ are considered as gurus rather than as performers.
[మార్చు] ప్రసిద్ద భరతనాట్య కళాకారులు, గురువులు
ప్రపంచ వ్యాప్తంగా చాలా భరతనాట్య శిక్షణా సంస్థలు ఉన్నాయి. కొంతమంది ప్రసిద్ధమైన భరతనాట్యకళాకారులు, గురువుల పేర్లు:
- పద్మా సుబ్రహ్మణ్యం
- చిత్రా విశ్వేశ్వరన్
- అడయార్ కె. లక్ష్మణన్
- యామినీ కృష్ణమూర్తి
- వైజయంతీ మాలా బాలి
- శోభా నటరాజన్
- అళర్మేల్ వల్లి
- మేధా హరి
- సుధారాణి రఘుపతి
- సి. వి. చంద్రశేఖర్
- కె. పి. & కాథరీన్ కణ్ణిరామవ్
- వి.పి. & శాంతా ధనంజయన్
- ఊర్మిళా సత్యనారాయణన్
- అనితా రత్నం
- ప్రియా మురళి
- శ్రీలతా వినోద్
[మార్చు] బయటి లింకులు
- ప్రేక్షకుల e-ratings of భరతనాట్య కళాకారుల See other people's votes and add yours.
- నాట్య ముద్రలు చిత్రములతో సహా ప్రధాన హస్తముద్రల యొక్క వివరణ.
- సమకాలీన భరతనాట్య కళాకారులు
- భరతనాట్యము పై విస్త్రుత వ్యాసము
- భరతనాట్యము - తమిళుల సాంప్రదాయ నృత్యము
[మార్చు] వెబ్‌లో దృశ్యశ్రవణ వనరులు
- థకిట - Multimedia reference featuring the in-depth technique.
- భరతనాట్యము the largest collection of streaming videos on the Web.
- Video clips of the AFPADTP - ఆధునిక అన్వయములు. (రియల్‌ప్లేయర్‌ ఫార్మాట్‌లో)
- భరతనాట్య భంగిమల చిత్రములు
- Clips from ఇన్విస్‌మల్టీమీడియా.కాం (క్విక్‌టైం ఫార్మాట్‌లో)
