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Arjun Ramachandran of The South First rated the film 3/5 stars and wrote: "A feel-good entertainer with a compelling story and convincing performances". [8] Vivek Santhosh of The New Indian Express rated the film 3/5 stars and wrote: "An entertaining and self-aware family comedy". [9]
The viewer is presented with pure movement in Bharatanatyam, wherein the emphasis is the beauty in motion, form, speed, range, and pattern. [69] This part of the repertoire has no interpretative aspect, no telling of the story. It is a technical performance and aims to engage the senses (Prakriti) of the audience. [75]
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Krishna Iyer vehemently protested against Muthulakshmi Reddy's attitude towards sadir in a series of letters published in the Madras Mail and sought to give the dance form a measure of respect by proposing a resolution at a 1932 meeting of the Madras Music Academy to rename it as "Bharatanatyam" or Indian dance.
Geeta Chandran is an Indian Bharatanatyam dancer and vocalist. [1] [2] Trained in Carnatic music, she is a visionary and celebrated artist in Indian classical Bharatanatyam, recognized for her work in theatre, dance, education, videos and films. [3]
Savitha Sastry (born 11 December 1969) is an Indian dancer and choreographer best known as an exponent of Bharatanatyam.She is known to experiment with the format of traditional Bharatanatyam by using the techniques of Bharatanatyam to showcase theme-based productions based on novel stories, not based on Indian mythology or religion.
"White" (2021) is the second film in the trilogy. White in the flag represents truth and peace. This film is an artistic autobiography of Savitha Sastry and follows her journey from being a traditional Bharatanatyam dancer, to one who uses the dance form to narrate novel stories.
Some other Bharatanatyam gurus, such as Adyar Lakshman (Kalakshetra school), as well as the Kuchipudi gurus Vempati Chinna Satyam and C.R.Acharya have also attempted to reconstruct all the 108 karanas, which were often significantly different from Padma Subrahmanyam's interpretations so much so that even on the chari (leg movement) level there ...