Mapping of Space Through Bharatanatyam Sequences

By Nrithya Vilasini Smt. Ramya Shankaran

This book will help all art lovers to know more about the Theatrical space through the motion of dance and its compositions. To investigate this connection between dance and place, it is imperative to understand the mythical origins of architecture and temple dance. The Hindu philosophy of the cosmic man and its religious relationship with the Dravidian architecture of Tamil Nadu is the starting point of the discussion of a south Indian aesthetic and Performance to it.

• Language: English
• Publisher: Xlibris US
• Release date: Aug 13, 2019
• ISBN: 9781796052336

Nrithya Vilasini Smt. Ramya Shankaran

At the forefront of the new generation of Bharatanatyam dancers, "Ramya Shankaran” represents the future of the ancient art form. Since the age of four, Ramya has been passionate about communicating through dance. Her unique dance style is a sincere result of her undying passion, self-motivation and dedication towards Bharatanatyam. Her refreshing approach to Bharatanatyam has won her many accolades and praise from dance lovers. Being a firm believer in maintaining the integrity of tradition, Ramya explores her creativity without compromising on the classicism of the dance form. Ramya Shankaran’s journey in Bharatanatyam commenced under the tutelage of Guru Smt.Sunitha and Guru Smt. Marie Stella from kalai kaveri school of fine arts Trichy, India. At the age of twelve, Ramya came under the guidance of Guru Smt. Madhavi Chandra sekar in Trichy, India and concurrently she started to learn “Mohiniyattam” classical art form of Kerala under the guidance of Kalamandalam Guru Smt. Kumari Menon for four years, she graduated with Diploma degree in the same. In 2012 she got selected in “SPICMACAY – GURUKULAM” @ pune, India. She went “To represent Tamilnadu chapter” and also was one among the seven from all over India. Ramya shankaran has also had the privilege of learning and interacting with extraordinary Bharatanatyam legend Prof. C.V.Chandrasekar, where he elevated her talent to the next level. Ramya Shankaran also earned Master of Arts in Bharatanatyam (M.A), Tamil University, Tanjore - India. Her gradations in Abhinayam is trained by Guru.Smt. Vijina Vasudenvan. She is also trained in “Yoga for dancers” by Guru. Renjith Babu. Ramya’s immaculate and graceful movements and her subtle yet communicative expressions have won the admiration of laymen and connoisseurs alike. Ramya’s performances have taken her across Nation. She is a gifted dance choreographer. She has received many accolades and acclaim which recognize her excellence as a performer and choreographer. As a teacher, Ramya Shankaran has initiated a ‘volunteer program’ in the name of “ADHYAATHMA – The Spiritual Expression through dance”. As an Author this book is her first Initiative to share her research on spatiality and Bharatanatyam.

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Copyright © 2019 by Ramya Shankaran. 782644

All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the copyright owner.

The views expressed in this work are solely those of the author and do not necessarily reflect the views of the publisher, and the publisher hereby disclaims any responsibility for them.

Rev. date: 08/13/2019

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CONTENT

1 CHAPTER – I EMPATHETIC OF THE STAGE SPACE

1.1 Myths from NatyaShastram

1.2 Progression of Old style -The stage Space over antiquity

1.3 Interpretation of the stage space concept and its development through philosophy

1.4 Characterization and conception of space (theatre) over another standard

2 CHAPTER – II DIMENSIONS OF THEATRE SPACE

2.1 Existential qualities of theatre space

2.2 Definition of Space

2.2.1 Threshold

2.2.2 Development of a ‘core’

2.2.3 Periphery

2.2.4 Sense of direction

2.2.5 Polarization of area

2.2.6 Physical Attributes:

2.3 Interdependence of Theatre space and Time

2.4 Depth and Density

3 CHAPTER – III - IMPACT OF NATYAM TO ITS THEATRE SPACE (STAGE SET)

3.1 Guide of Bharatanatyam – Natyashastra

3.2 Sadir attam / Bharatanatyam

3.2.1 Ksetra- Ganitam / Geometry – Calculating planes and figures

3.2.2 Stances/ Positions

3.2.3 Adavus in Sadir attam

3.2.4 Actions of Angas (Major limbs)

3.2.5 Basic Steps – Pure Nritta (Adavus)

3.3 Flavor (Rasa) in Natya Philosophy

3.4 Concepts of space creation in Indian context (The stage, class room)

4 CHAPTER - IV SPATIAL EXPERIENCE THROUGH MOVEMENTS

4.1 Spatial definition in dance

4.2 Movement and Rhythm in Architecture

4.3 Node of Dance and Architecture

4.3.1 Synchronizations and paradox

4.3.2 Advantages of reviewing Bharatanatyam in the stage set

4.4 Case study

4.4.1 Thillai Nataraja Temple, Chidambaram

5 CHAPTER – V - ANALYSIS THROUGH BHARATANATYAM SEQUENCES

5.1 Bodily Movement – Evoked perspective

5.2 Anga Shutham (Posture) Investigation

5.3 Constraints of study

5.5.1 SEQUENCE ONE – PERIYA ADAVU

5.5.2 SEQUENCE TWO – THA THAI THAM

5.5.3. SEQUENCE THREE – NATADAVU

6 CHAPTER - 6

6.1 Inferences

BIBLIOGRAPHY

ACKNOWLEDGEMENT

I have taken efforts to write this book. I would commence my thanks from my lovely father, who always showers me with his blessings from the heaven and it would not have been possible without the kind support and help of my Husband and family. I would like to extend my sincere thanks to them. I am highly indebted to Guru Smt. Dr.Marie Stella for her guidance, Guru Supriya Ravikumar for the constant support and Acharya Renjith and vijna for the informative Chidambaram case study. I also thank Mr. Karthik Ramalingam for the beautifully taken pictures. I would like to express my gratitude towards my friends for their kind co-operation and encouragement which help me in completion of this book.

Abstract

Bharatanatyam, as the highest command of divine discipline, the portrayal of which is emblematic of a sacramental cost of one’s being to an inspiring demand. The Nātya-Shāshtra, a book of knowledge on Natyam and koothu, describes the art of performance is identical to the moksha or release from the sequence of rebirth. Bharatanatyam and artist together act as a medium of celestial recital and which is echoed in its own spatial environs. Both spatial environs and artist co-occur as a tangled structure in Hindu philosophy.

With the purpose of study, the relationship between the spatial environment and Bharatanatyam, is authoritative to realize our Dravidian heritages of spatial construction like Temples, Royal Courts, Aesthetics, and Dancers in it. The association amongst the three-dimensional surroundings and the Bharatanatyam or dancing body was relatively noticeable till 18th century, however the south Indian architecture gradually being unstable during the late 20th century. The modern architectural development made it motionless and also pauses the endurance of spatial relationship which leads in to crumbling of separate entity.

Bharatanatyam and dancer have become a cultural symbol. Though it is traditional the dancer’s various manifestations connected the traditional and modernity. The existing incarnation of philosophy and uniqueness in modern way leads to the revolution from devadasi to the representation of nation and to the choreographer of high arts, this gives the restoration of spatial environ and dance fabric. This research aims in re-establish the reputation of spatial environment as an edifying node to restore the fragmented dance, communal and artistic uniqueness.

Aim and objective of this book

The key attempt of this study is to evaluate the possibilities of creating a theoretical construct for a Theatrical design process that takes advantage of the techniques of space – making perfected in the south Indian classical dance form of Bharatanatyam.

Other question that this book will work towards answering shall include –

1. Evolution of the understanding of space.

2. What is ‘space’ – in motion, and in stasis?

3. How is Theatrical space defined and created in dance?

4. Is ‘Theatrical’ space comparable to ‘everyday’ space?

5. What are the benefits of studying ‘Theatrical space’ space for an increased understanding of ‘everyday’ space?

6. Important of ‘movement’ and rhythm in architecture and influence of Bharatanatyam to the space.

7. What is the implication of an understanding of ‘kinesphere’ and ‘kinesthetics’ in architecture and Bharatanatyam?

Scope and limitation

‘Theatrical Space’ as a concept has