Padmashri Shovana Narayan’s identify is synonymous with kathak. However the dance exponent has added one other feather to her cap as an actor in director and author Durba Sahay’s movie Aavartan. The movie explores the custom of guru-shishya parampara, the place the doyenne performs a Kathak guru, Guru Bhawna Sarasvati.
In an electronic mail interview with indianexpress.com, she talks concerning the expertise of performing in a movie, the custom of guru-shishya parampara in at the moment’s context, and her views on the commercialisation of conventional dance varieties by Bollywood.
How was the expertise of performing in a movie?
It was very fascinating. It turns into much more pleasurable when there’s a good director, which I had.
Did your understanding of the nuances of expressions make the expertise simpler for you?
As a dancer, though we perceive abhinaya with all its nuances, but the 2 mediums – stage and movie – are very completely different from one another. Whereas each require internalisation of feelings, the diploma to which they need to be externally mirrored differs.
What made you say sure to Aavartan?
Initially, Durba ji is an efficient good friend, whom I’ve identified for years. Secondly, when she narrated the story and requested me to do the movie, I discovered the story fascinating. I discovered her religion in me touching; and as I do know her to be inventive and delicate, I had no hesitation in agreeing to it.
May you speak about your character within the movie, and likewise share in the event you relate to Bhawna Sarasvati in actual life?
The emotional trauma, misunderstandings, insecurities of adjusting instances and advancing age, ambitions of youthful generations — which can rightly or mistakenly look like ruthless of their self-projection — all that’s a part of life. Each technology goes by it. It’s an everlasting cycle. That is universally true for any and all vocations.
When my college students heard the story, one in all them exclaimed to the director, “However didi (which means me) will not be so! She takes a backseat on stage and focuses the limelight on us!” Durba ji and I laughed as she defined that it was solely a movie.
With altering instances, how has the guru-shishya parampara developed?
When talking of the guru-shishya parampara, I do assume we have to re-evaluate its precise which means. Gone are the instances, when the shishya would go and keep within the guru’s ashram and study the abilities and likewise imbibe learn how to conduct oneself in life. However whether or not there may be an ashram or not, what is important on this parampara is that not solely the technical abilities are imparted and perfected by the shishyas, but in addition the intangible features of the artwork kind, its soul, understanding of what it actually means as additionally life’s values and learn how to conduct oneself in life.
At this time, too, amongst disciples, there’s a small quantity that tries to imbibe the precise essence of the parampara, exhibiting the identical devotion, sadhna and dedication. The guru, too, retains evolving with altering instances, however the core necessities stay intact.
What was essentially the most difficult factor about performing?
As dancers, we’re used to talking by actions whereas maintaining our mouths closed, whereas in a movie medium, an expressive voice is vital whereas expressions are to be conveyed with minimal actions. In a method, the movie medium, minus the speech, jogged my memory of the ‘abhinaya’ as completed by conventional Kathaks – “minimal actions, most emotion”.
Not many movies are made on conventional dance varieties and its numerous aspects. What are your views on the identical?
I agree and due to this fact it was so refreshing to see Durba ji concentrating on portraying “authenticity” fairly than resorting to “popularisation”. There’s a lot magnificence in “authenticity” and but so very fascinating!
Do you, at any time, really feel that Bollywood has led to the commercialisation of conventional dance varieties?
Commercialisation of artwork has turn out to be increasingly pronounced in Bollywood, which is fairly unlucky. I’m strongly of the opinion that the best hurt to its (Kathak’s) origin, to its portrayal, versus the reality, has come from Bollywood. Business cinema has all the time portrayed it in a debauched method forgetting its unique temple roots and historicity. In spite of everything, that is the one group of devotional dancers, who’ve been talked about within the historical Hindu epic Mahabharata and likewise within the 4th century BC (Mauryan interval) Prakrit inscription. There’s additionally an excellent distinction between what among the dancing ladies have been taught and what the precise Kathaks carried out – a distinction which was completely missed or not understood by industrial cinema.
What recommendation would you give to kids who wish to pursue a profession in conventional dance?
I’d say that any profession is nice. A very good profession is dependent upon our angle, efforts, sincerity, honesty and dedication in the direction of the chosen artwork or vocation. What’s our behaviour, are we compromising on ethical and moral values, in our language, habits, and so on.? All these go a great distance in projecting a picture of the individual in addition to the vocation one represents.
On taking artwork – classical dance as a selected vocation – why not? Like in another vocation, the fruits rely on one’s personal efforts, depth and dedication to it. Nonetheless, it’s not a vocation with in a single day fame or monetary advantages however one which calls for perseverance, depth of thought and actions. However ultimately, its rewards are far larger for it offers the a lot required ‘internal peace’.
The selection is ours and ours alone.
Would you be open to performing in additional movies now?
Who is aware of what the long run will carry? I simply know that my puja is Kathak, my atma is in Kathak!