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Books > Performing Arts > Dance > Appreciating Bharatanatyam
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Appreciating Bharatanatyam
Pages from the book
Appreciating Bharatanatyam
Look Inside the Book
Description

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

15

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

 

Sample Pages




















Appreciating Bharatanatyam

Item Code:
NAL436
Cover:
Paperback
Edition:
2010
Language:
English
Size:
8.5 inch x 5.5 inch
Pages:
456 (Throughout Color and B/W Illustrations)
Other Details:
Weight of the Book: 860 gms
Price:
$65.00
Discounted:
$48.75   Shipping Free - 4 to 6 days
You Save:
$16.25 (25%)
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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

15

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

 

Sample Pages




















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