In commemoration of the 150th birth anniversary of
Rabindranath Tagore
DANCE-DRAMAS
In commemoration of the 150th birth anniversary of
Rabindranath Tagore, common productions, plays and specifically dance-dramas
are being given different interpretations and artistic modes, to look beyond
the mundane, thanks to the Tagore Commemoration Grant Scheme of the Ministry of
Culture, Government of India.Dance dramas are generally produced with
permutation and combination of styles, both classical and contemporary, number
of dancers and variation in costumes to make them aesthetically appealing. Many
of the productions, which were eclipsed by superficial variations of steps and
additions that claim to be a natural artistic interpretation of Tagore, have
failed to bring forth the ideals and underlying meaning of the Bard’s work.
‘Chitrangada,’ staged by Dancers’ Guild at Rabindra
Sadan, Kolkata, was a dance-theatre with a difference. Theatrical movements,
martial arts, especially Kalaripayattu, Chhau and Thang-ta were woven into the
choreography with their ‘Navanritya’ idiom, pioneered by Dr. Manjusri
Chaki-Sircar, into a variegated whole.It is claimed that Navanritya is not a
style but an idea, a continuously evolving dynamic dance idiom, which has no
restriction of grammar or limits of forms.Both Dr. Sircar and her brilliant
daughter, Ranjabati Sircar, believed that beyond hidebound strictures of
tradition, Tagore’s aesthetics underscores “Faith in the body as artists’
vehicle and faith in the individual as an artist.” So the dance theatre
according to the Guild, “Is an attempt to dance Tagore in a contemporary way.”Tagore
had written the verse-drama and the dance drama at two different periods of his
life. The performance text merges the two but uses the narrative verse as the
core text, the adaptation is complete with sensations, gestures, rhythms and
tones.
As a result, Aishika Chakraborty, the choreographic
collaborator and an alumnus of the Guild, who scripted and conceived the
production, and Jonaki Sarkar, the director (the dance director too), were able
to distinguish between theatre and dance-drama and present ‘Chitrangada’ as an
ambitious illustration of this ambivalent relationship.So while exploring the
dramaturgical possibilities that the narrative verse offered, they have recast
‘Chitrangada,’ the warrior princess of Manipur, in a contemporary mould.In this
story of Mahabharata, Chitrangada meets and falls in love with Arjun, who
during his 12 years of penance wanders into Manipur. Arjun, who observes
celibacy, refuses her. Dejected and insulted, the princess (Kurupa) seeks
Madan’s(God) help to transform her into a beautiful woman (Surupa) to allure
him. Arjun naturally falls for her.When the kingdom is attacked, Chitrangada
with her fighting skills and warfare saves the country. Arjun’s illusion being
over, he discovers and admires the true quality in a woman and respects her.
But Chitrangada stresses, “I am Chitrangada (Ami Chitrangada)!” The princess,
no ordinary woman, has an identity of her own and will move on equal terms with
a man.
The present treatment has fewer songs, more dialogue with
movements that steer the course of the narrative, pure music composed by Swapan
Pakrashi and wonderful solo dance numbers.In general, Chitrangada is represented as one woman rent
apart by her two conflicting selves, (Kurupa and Surupa). Here, Chitrangada is
not two but three! This is the high point of the production. The first
signifies the self, the unchanging identity of Chitrangada (Aishika
Chakraborty) narrating the journey of her life, the saga of her hunt for love,
her dejection and decisive ‘reclamation’ on her own terms. The other two are
her exterior selves enacted in two separate styles, Kurupa and Surupa, sharing
and overlapping the stage –space with the first one.The opening dance formation
with Bol paranth was highly impressive. The props of masks and Patachitra, the
colourful fascinating scroll paintings from Medinipur by Moyna and Maleek
Chitrakar depicting the tale of Chitrangada, provided innovative support. Arindam Dey’s contemporary scrolls offered a new version
of the story representing spring (basanta), which bestowed on Kurupa the
magical charm of Surupa. Aishika Chakraborty’s choreography was distinctly
sharpened by technique and novelty. Her refined execution as a narrator, both
on stage and in the voice-over, had emotional impact. There was fluidity of
movement. Kajal Hazra’s strapping movements as Arjun were geometric poses of
perfect symmetry but did not lack the aesthetic grace of a magnificent dancer.Jaitri
Chowdhury as Surupa was elegant but it was Sadhana Hazra as Kurupa who won the
heart with her technical brilliance and physical and facial expressions,
especially in the emphatic “Ami Chitrangada. Some of the group numbers were
pleasing as was the music but what stood out were the visual effects, imagery
and the team work.
Prof. John Kurakar
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