Arts and Entertainment 12-7-12

Choreography in Indian Classical Dance

Choreography in Western Dance may seem limited. But the fact remains that elements of choreography are the basic part of conception in any Western dance creation. But choreography in Indian Classical Dance has not evolved to the extent to which it has in the West. This is because classical dance began as an independent presentation. The purpose of the performance and with it the stage kept changing, and it is this that impacted the presentation.

Most classical dances were created to be performed in temples. Devotion was the sole essence and purpose behind the performance. Dance was a medium of prayer, and an intensely personal one at that. Naturally, the temple platform and the presence of devotees was enough for the presentation. No special thought was given to the aspect of how the presentation could be made more effective.

Later, during the 11th century AD, the dance moved into the courts of the kings. Instead of the temple platform, artists were to perform on a separate half-circular stage. The devotional undertones were replaced with tenets of pure entertainment. This expectation of 'entertainment' from the art form was perhaps the reason why the focus shifted towards the arena of presentation, and therefore, choreography in Kathak.

The shift from a Temple platform to a semi-circular stage brought all three dimensions of Space (i.e. height, length and depth) to the forefront. It opened up the option of using of three main directions and two sub directions on each side and elements like Utplawan, Challang etc. were also used to make better use of this Space. The aesthetic aspect of dance was slowly gaining more importance, because now the performance was for the audience, not for the 'self'.

Today, the stage is a lot more accommodating and, at the same time, demanding. There is a dual purpose to dance - artistic self-fulfillment through creativity as well as visual appeal for the audience. And it is innovation that has lead to the fulfillment of both.

In innovation, it is essential to essentially consider all aspects of choreography for enhancing its effectiveness. In the context of the contemporary stage, consideration for all three basic elements of choreography i.e. Space, Time and Energy must be studied correctly and implemented in a technically perfect manner.

Main aspects of choreography-
1. Theme:
The theme is a critical element for the success of any composition. In Kathak, the theme is represented in two ways - Nritta and Nritya.

a. Nritta
In a Nritta-based composition, the repetitive cycle of the Taal is the main theme. Within a cycle of the Taal various movements, rhythm patterns, compositions (which may be ad-lib i.e. Upaj or pre-fixed i.e. Bandish) are presented in a manner to come back to the first beat of the cycle (sum) at completion, using the artist's body as the medium. A musical composition equaling the cycle of the Taal (Nagma) is used as the measuring scale in this theme.

This theme is easy to understand and appreciate. However, the exact theme to be presented must be decided based on the audience. For instance, complex mathematically challenging patterns should be avoided in front of common public while they can be presented with aplomb in front of connoisseurs.

The Nritta theme, although used predominantly in solo performances, is equally effective for group presentations. A Taal-Mala ( a serial combination of more than two Taals to make it as one cycle) presentation, for example, is more effective in a group setting as it may be too long a cycle for a solo performance in terms of acceptance by the audience.

b. Nritya
In a traditional Kathak performance, Nritya comes in the form of Vandanas, Thumris, Bhajans and Gat-Bhavs. In all these, the theme is mostly based on various mythological situations and characters. Even Indian audiences often comment that the themes seem repetitive. The stories of Radha - Krishna, Yashoda - Krishna or Rakshas - Sanhar represent fundamental human emotions and feelings. And while these feelings are still relevant today, the context is not.

Radha & Krishna embody the emotion of love in the Indian Culture, but they may not be known universally. However, the relation between a man and a woman is more commonly understandable by persons of any nationality and culture.

In today's day & age, using a contemporary theme to represent these emotions is a good idea, because the audience can relate to them more easily and they will also be attracted to the novelty. E.g. A Vandana can be made more relevant if the feeling of devotion is represented by prayers to Nature instead of to a particular God. Even internationally known literature, used as the basis for themes for Indian classical dance, may appeal more to the foreign audience and make them aware of Indian classical dance.

The theme could be common issue of today or an anecdote from mythology. But, whether it is Nritta or Nritya, must be understandable, heart-warming and intellectually stimulating for the audience.

2. Music
Music is a very important element of an Indian classical dance performance. The selection of music to represent any Nritya-based theme must support the mood. Many times, just with the right music, the dancer is in a position to quickly establish the theme being presented.

An elaboration of some aspects of music:
Indian classical music is vast, comprehensive and well structured. The Raags are divided as per time zones and have their own personality i.e. they reflect a particular set of 'moods'. In Indian classical dance, various types of Malhars are used in compositions to represent Varsharutu because of the inherent mood they create, which complements the theme of the dance.

When it comes to the impact music can make on the overall composition of dance, it can be gauged from the fact that, many times, music inspires a composition itself. E.g. Guru Pt. Rohini Bhate's composition of TIME - the inspiring music was western but the composer had used 'Nagmas', which is a purely Indian concept. Another example of theme based music selection in choreography can be seen in another of Rohiniji's compositions - Kathputli (Puppet). The theme is based on a representative woman, who is entangled in daily chores to the extent that, for her, the entire process becomes mechanical. Unlike in the previous example, in this composition, the theme inspires the music. The music selected was pure 'Metronome beats', the monotonous notes of which effectively bring out the repetitive colorless nature of the woman's daily chores. In the theme, when one of the women tries to break this monotony, the metronome beats give way to melodious notes to represent change and when the woman successfully dis-entangles herself, the happiness is brought out through a 'Taraana'.

Many times fusion music can be used very effectively in choreography innovations. Such music can be fusion of instruments from East & West or can also be of these two different types.

In Nritta-based themes, several Indian classical music compositions have been used without any modifications in Kathak. These music compositions do not have any specific theme. Melodious music and suitable beautiful visualization itself are the points of appreciation. Such themes are universal and can appeal to large audience, taking Kathak closer to them.

3. Space:
According to Western concepts, the main elements of choreography are Space, Time and Energy. Let us analyse these aspects in the context of Indian dance.

The main elements of Space are directions, levels, planes and volume.

Directions: In the early times, Indian classical dance mainly used only very few directions. All 'Sam' used to be directed towards the right and entry used to be from the left. Hence, the vocabulary of directions as well as movements remained very limited. But through subsequent innovations by stalwarts, many new directions were added and today the Kathak vocabulary is very rich and provides great scope for creativity.

However, one element needs to be highlighted. In general, while considering a stage, the musicians sit on the left of the audience. Because of this, the center of the stage for the dancer gets shifted from the actual center of the stage. This poses significant challenge for the artist because, if the original center is taken for choreography, there is less space on one side. While if the center of available space is taken for choreography, this center does not align with the center from the audience's perspective. Therefore, there is a need to look at either the seating positions of the musicians on both sides, using the modern technology for maintaining the rapport or putting up an equivalent decoration on the opposite side to the musicians for maintaining the balance of the stage.

A lot of work has also happened in the area of use of levels and planes by many choreographers and Kathak has a good knowledge-base for the use of these elements.

4. Energy:
The requirement of energy in different elements of Kathak is different. For example, in a Paran the energy needs to be thrown out while the 'Thaat' is an example of contained energy. So, within the different elements of Kathak, different types of energy can be represented. Therefore, in a new creative presentation, different energy levels can be very effectively presented through known, established elements of Kathak.

Prerana Deshpande is a traditional Kathak Dancer of repute and a creative choreographer of rare calibre. She is one of the leading Kathak exponents and a complete solo Kathak dancer of her generation. Internationally acclaimed as a creative dancer, she is widely acknowledged for her mastery over various aspects of Kathak.

Prerana studied Kathak under Guru-Shishya Parampara (Master - Disciple tradition) from legendary Dr. Rohini Bhate, the doyen of Lucknow and Jaipur gharanas for over twenty years. She is regarded for her exquisite command over the fundamentals of Kathak - Rhythm, Grace, & Expression and for her creativity rooted in the tradition of this dance form. Greatly appreciated by all audiences for her expertise in Kathak, she is regularly invited to perform as a solo artist at all major venues and festivals in India and abroad.

Prerana established Nrityadham (Home of dance) in Pune in 2003 with the blessings of her Guru Dr. Rohini Bhate and Smt. Sharadini Gole, to preserve and propagate Kathak in its pure, traditional form of which Prerana is a master practitioner.

At Nrityadham, the students are taught Kathak from basics up to expert levels, as they imbibe the intricacies of this beautiful dance form. Nrityadham has its own dance studio with accommodation facility available for outstation and foreign students.

Universal Language

"Oh No It Isn't - Oh Yes It Is" - The Story of Pantomime

Pantomime is a very British style of theatre - in fact you could almost call it an institution.

Wherever the Brits have travelled pantomime has followed in their wake, so that it can be found in places like Australia and South Africa as well as countries where there is a lively expat community such as the USA.

These plays pull together music, dance, comedy and acting in a unique way that only the bonkers British could ever have done.

But where does it come from?
What are its roots?
Why has it become such a popular tradition?

This is the story of British Pantomime.

A Foreign Import

Whilst pantomime is a very British institution, its roots are actually to be found in 16th century Italy. During that period in Italy, there developed theatrical productions called "Commedia dell arte". These contained the basis of modern pantomime stories with old, disreputable men, servants who tried and eventually got the better of their master and young lovers who se families thought them socially incompatible and would not let them marry. Slowly a clown character (Punchinello) also made an appearance. The seeds of modern pantomime had been sown.

Theatre knows no boundaries and these commedia dell arte plays rapidly moved across Europe, finally arriving in Britain. Whilst the British enjoyed the general plots they fell in love with the clown character. Soon called Harlequin - wearing a checked costume rather like a jester - this clown helped the plays changed course into more of a comedy routine called "Harlequinades."

Adaptation for British Audiences

By the 1720's John Rich, of Lincolns Field, London, was producing incredibly popular Harlequinades involving Harlequin and his fellow servant, Columbine, being involved in a series of mad-cap chases, and sharing the stage with animals, including a camel. So the roots of the pantomime horse costumes can be found in John Rich's productions nearly 300 years ago.

The Harlequin was given a stick to hit whenever scenery changes or sound effects were needed. Soon he was using this "slap stick" to signal for sound effects when he did something funny. Slapstick comedy had entered the English vocabulary and pantomime lore. To this day, the joker character in pantomime will get a drum roll and cymbal crash when he tells a joke, even though he has not had to use his slapstick to get that effect.

Like all success stories, others wanted to get in on the act. David Garrick wanted a piece of the action and started to produce his rival plays. Garrick, however, reserved these Harlequinades for the Christmas period where he felt that their natural frivolity was more suited for this fun festival. Another pantomime tradition had been born - panto at Christmas.

Did you know that until 1843 not all theatres could stage productions using words? Yes as bizarre as it sounds, only certain British theatres were allowed "talkie" plays. Harlequinades were principally mime, dance and singing and hence get around that ruling. An Act of Parliament changed all of that with the result that any theatre could put on any play, and they could use as many words as they wanted. Suddenly, the Harlequinades could use words and scripts were needed.

Pantomime Story Lines
But what story lines could these shows have? The easiest thing was to tell stories that already existed and the easiest stories were the ones that everyone knew from their childhoods. Pantomime had its first story lines in Cinderella and Mother Goose. The other stories that the audience knew were folklore stories and soon plays based upon Dick Whittington, Jack and The Beanstalk (originally called Jack the Giant Slayer) and Babes in the Wood were being produced too. Some pantomimes were based upon popular story books such as Robinson Crusoe and The Arabian Nights (for instance Aladdin, Sinbad, and Ali Baba).

The greatest 19th century pantomime writers were H.J. Byron and J.R. Planche. They introduced puns and word plays into their pantomime scripts - something still central to most pantos. They also introduced the Ugly Sisters and Buttons as characters in Cinderella. Amongst their scripts which are still popular are Sleeping Beauty and Puss in Boots.

The amazing thing is that these 19th century plays are still the classic, most popular pantomimes. Some like Robinson Crusoe and Sinbad have faded from view whilst others such as Peter Pan and Snow White and The Seven Dwarves have become popular since the release of J.M. Barries classic book and the Disney film in the 1930's respectively. But if you were to ask the British public to name some pantomimes they would name the same ones that their Victorian ancestors were watching - Cinderella, Dick Whittington, Sleeping Beauty, Jack and The Beanstalk...

Pantomime became a huge success.

The productions by Augustus Harris in Drury Lane involved casts 500 strong and were fronted by the biggest music hall stars of the day, people like Dan Leno and Marie Lloyd. Once again this use of music hall stars increased pantomimes popularity with ordinary working people. Pantomime made celebrities of its stars. The earliest was Joseph Grimaldi, possibly the most famous pantomime clown in British history.

Dames and Principal Boys
Another of the great pantomime stars was Dan Leno (1860 - 1904). A Music Hall star in his own right, Leno made the Dame a "must have" character in pantomimes. His interpretation of the Dame as a woman facing adversity with fun became immensely popular and the situations that the Dame found herself in (poverty, abandonment, unemployment) resonated with Victorian audiences.

If men dressing up as Panto Dames is very much a pantomime tradition. Another is the Principal Boy being played by a woman.

Men dressing up as girls had been around since the time of William Shakespeare but women appearing as boys caused a bit of a stir in prim and proper Victorian Britain. We all know the Best Boy coming on in a short tunic, wearing tights and slapping her thighs and think nothing of it. But in an age when women did not even show off their ankle this was racy stuff indeed (and, probably for a lot of the men in the audience very popular too!).

Pantomime - A Commercial & Cultural Success

Pantomime was big business. Every theatre, in every town, staged an annual pantomime. Their importance can be seen when Aladdin was the second performance staged at the brand new Lyceum Theatre in provincial Crewe (1882). The Lyceum owners knew that if you wanted "bums on seats" and pay back your investment quickly you could not go wrong with pantomime.

That popularity continues to this day. Whether it is a big city theatre running a show for several months with stars from TV soap operas and other celebrities down to a village hall production staged by youth groups (like the Young Christians Panto in Bunbury) or the slightly blue versions at Rugby clubs (yes, Chester RFC I am thinking about you!), pantomime remains immensely popular and part of our culture.

Phrases like "Oh No It Isn't" and "He's behind you", along with a drum roll and cymbal sound when telling a quick joke or one-liner have entered popular vocabulary and culture.

I think that this traditional panto song sums it all up really:

"PANTOMIME PANTOMIME
What a thrill, what a time!
Where all the world its cares can leave, in the land of make-believe
Pantomime, Pantomime, Music plays, keep in time
With ev'ry heart that knows the score and we're all just kids once more
With knaves and princes, dames and clowns, all seeking crowns of gold
Through tears and laughter after all, a happy ending to behold
Pantomime, Pantomime, on it goes, so sublime
It's entertainment's greatest show, So! Long Live Pantomime!"

Conclusion

Pantomime has come a long way over the years. From Italian import to quirky British institution. It has challenged social boundaries with women playing best boys and blurred them a bit with middle aged men dressing up as dames. It draws on the stories our childhood and on British folklore. Its harmless, fun filled antics charm people of all ages. It provides a social focus for communities and clubs. It continues to be a Christmas tradition for so many of us.

It is about as British as Fish and Chips. It is something that defines us in this ever more blurred world. Long may it continue.

It's entertainment's greatest show, So! Long Live Pantomime!"

Charlie Vegas is the UK leading supplier of 2 man pantomime horse costumes (as well as pantomime cows, 2 man camels, zebras and even an elephant).
They also supply 2 man horses in the USA (to purchase not to rent).
Visit their website at: Charlie Vegas Costumes

Arts Stroll Returns - Joined by Arts & Entertainment District and Greene Street Market

How to Pen Scripts for Theatre

As you pick up your pen to narrate a story in words and sketch out a live dream or fantasy, you may have the best of imaginations that may define you as a writer. Writers are known to be very imaginative, as they are god gifted to bring any character to life with their words. But all changes when you pen scripts for theatre. They don't expect you to be imaginative but the more realistic scripts for theatre are, the more likely they will be a success.

Not all have the talent to bring to life characters and situations into a live play and hence writing such scripts can be quite a task. So here are some ways to draw your imagination and bring it to reality through scripts for theatre.

Make your skeleton: To begin with, one can simply put together a gist and form a skeleton of the entire story. In the words of theatre, one calls it a plot where you decide the start, the flow and the climax of the entire play. Scripts for theatre will be incomplete if your plot doesn't have some zigzag twists and turns of emotional mash up in it. As you have your outline and plot, your imagination will start to flow more freely

Dialogues: Scripts for theatre are not like school plays but are like a live TV show or movie so the power in the conversations need a touch of reality. Each character needs a dialogue which best emotes the entire atmosphere and mainly the plot. Avoid jargons but keep it colloquial. The dialogues also should include hints of emotion and pauses to give it a taste of reality.

The 2 Cs: While you may wonder what the entire 2 Cs is all about? You may remember how each time you plan something it gets disrupted or hindered by something or someone. 2 Cs means conflict and complications. Scripts for theatre involve these two parts as they make the story much more interesting and worth watching.

Attain Climax: A climax is not just the end but acts as a conclusion with a strong message to live. You may wish to leave it incomplete if you have a trilogy but you can still create drama to keep people thinking. Climaxes may include a happy ending while some might end tragically.

So here are few ways you can be a play-writer and give the industry some lovely scripts for theatre.

Our website offers a wide variety of free Theatre Play from the Brazilian author Luciana B. Veit. For more relevant information visit here.

Village Performing Arts Centre performance at the 2011 ADF