About the Book
A Bharatanatyam performance is an effective mix of communicative and non-communicative aspects. The communicative aspect is called Abhinaya.
The non-communicative Part comprises pure dance sequences. These segments called Nritta, add zest and life to a performance. Every Nritta sequence is a well-planned sequence of individual units called adavus.
A full-length performance usually goes on for about 1 ½ hours and consists of about 6-7 items. Alarippu, Pushpanjali, Jathiswaram, Sabdam, Varnam, Padam, Javali, Thillana etc. are the traditional items. Each item has its own unique proportion of Nritta and Abhinaya. A complete set of the traditional items is called Margam. The longest item is the Varnam. Here, long sequences of orally uttered rhythmic syllables called Jathi are performed. This is a unique speciality of Bharatanatyam.
The tradition jewellery of Bharatanatyam which is very typical of the style, is made by jewellers in Vadaseri in Nagercoil. It is made of silver and covered with gold foil and is embossed with stones of red and white having a characteristic dull and muted finish.
This book discusses all the above aspects of Bharatanatyam and more in full detail with lot of multi colour photographs. All single and double hand mudras, navarasas, conceptual pictures and so have been captured in multi colour in glossy in glossy foreign art paper making this book a visual delight. Another rare feature of the book is the capturing of the making process, work shop and artisans involved in the temple jewellary craft in the remote Vadaseri.
An added attraction of the book is the segment, Bharatanatyam-Word by Word, which is designed as quick scanner with a convenient index to enable referring to specific terms without necessarily running through the whole book.
This book, with its unique features, is sure to help readers to get closer to Bharatanatyam.
Contents
1
Major Constituents of Bharatanatyam
15
2
Adavu
34
3
Jathi
40
4
Abhinaya
45
5
Bhava and rasa
51
6
Navarasa
57
7
The Performance and Syllabus
73
8
More about Bharatanatyam
81
9
About the Stage and more...
87
10
Nritta (Pure Dance)
91
11
Postures
105
12
Types of Adavus
111
13
Sanchari
129
14
Some other aspects of the form
143
Rediscovering Vadasery
157
16
Abhinaya-the art of communication
171
17
Mudras
175
18
Lokadharmi and Natyadharmi
189
19
Padartha and Vakyartha Abhinaya
193
20
Some useful Suggestions
203
21
Going beyond
207
22
Some tips for the viewer
213
23
Utilisation of Mudras
217
24
From Bhava to Rasa
235
25
Creation of Rasa-Rasothpatthi
241
26
The role of music in creating Rasa
249
27
More on Navarasas
257
28
A Critique of the Bharatanatyam Repertoire
261
29
Padams, Javalis, Varnams
269
30
New Dimensions
279
31
Bharatanatyam-word by word Understanding a narrative (361-376)
299
32
Single and Double hand Mudras
441
From the Editor’s Desk
456
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