Yakshagana, one of the most illustrious traditional theatrical forms of South India , obviously finds its firm roots in the Natyasastra ofBharata. It is a profound and popular performing art of Karnataka. Especiallyits Northern School
EKAVYAKTHI YAKSHAGANA
Solo performance in Yakshagana style is an entirely
new and refreshingly original innovation in the classical dance-drama systems
of India
Dr. R. GANESH
Dr. R. GANESH
Dr. R. Ganesh is a renowned Sanskrit scholar, poet
credited with reviving the ancient art of Avadhaana and an Indologist well
versed in the nuances of all classical Indian arts. Dr. R. Ganesh is a graduate
of Mechanical Engineering, A holder of M. Sc from IIsc, Bangalore
The wonderful concept of Ekavyakthi Yakshagana was conceived and designed by Dr. R. Ganesh. Solo performance in Yakshagana style is an entirely new and refreshing original innovation in the classical dance drama systems of
In this dance theme, the mental state experienced by
the love struck heroine (Bhamini) in eight situations in a time duration of 24
hours is depicted in eight episodes. Even though Bhamini depicts a flourishing
Sringara Rasa, the hidden thought is the expression of feelings of Jeevatma
searching for Paramatma in the path of devotion for attaining salvation.
This is based on three characters from Mahabharata
and Bhagavata – Yashodha (Vatsalya Bhava), Rukmini (Madhura Bhava) and Droupadi
(Arpana Bhava) who were deeply influenced by Lord Krishna.
This is based on three characters from Mahabharata
and Bhagavata - This unique full length programme covers the Poorvaranga of
this art. It starts with the salutations to the stage-Mother Earth, the eight
directions, the learned spectators and heralds the ten incarnations of Lord
Vishnu. Later two items in Pitika Streevesha (initiating the romantic feminine
themes) are performed.
This is based on three characters from Mahabharata
and Bhagavata - This explores the character of Radha as an ideal lover. It is a
one evening story. The whole programme is a grand musical treat full of rich Abhinaya.
The most challengingly attractive productions based
on the theme of Ramayana. This has a total splendor of Vachika (verbal
communication) along with the mesmerizing Angika (articulation of the body), fantasizing
Aharya (costume and make-up) and engrossing Sattvika (moods and emotions).The
whole episode is a fascinating encounter with the demonic charms of Shurpanakha
that evokes divine aesthetic experience.
This is entirely based on the legacy of Ramayana and
profoundly explores the sublime character of Sitaa. Here Sattvikabhinaya and
pathos reach their zenith. Equally challenging is the sustained crystallization
of the epic dignity.
For the first time in the history of the annals of
Yakshagana, time tested poems of a few eminent poets of Kannada. Thus DVG,
Kuvempu, Bendre. Thinamshri, K.S.Na and others are brought in to the fold of
tantalizing Yakshagana. An extension of this is also successfully attempted
where even the earlier master poets such as Pampa
This reveals the tragic story of Amba the fiery
character from Mahabharata. Here a poetic justice is also made to her sad fate.
DASA DEEPAANJALI (2008)
The all time beautiful devotional songs of the sage
poets Purandara and kanaka are aesthetically adapted to the rhyme and rhythm of
Yakshagana. A happily blend of Sringara and Bhakti with a telling message are
accomplished.
NADUMANE
‘Nadumaneyalli Yakshanatya’ - a programme where in
the artiste reaches out to at least fifty people with the venue being a person’s
residence. The focus is on literally involving audience in the character he
enacts and to reach out to art aficionados when they are driven away by
television and other media. Mantap has performed at over 400 homes all over India
This is a duo Yakshagana involving the love affairs
of Arjuna (enacted by Kondadhakuli Ramachandra Hegde, an eminent Yakshagana
artist) with Ulupi, Chitrangada and Subhadra. Over fifty ragas are employed for
this one production itself which is unheard not only in Yakshagana but also in
any other classical theatrical presentation.
This deals with the love and marriage of Nala and
Damayanthi that was negotiated through a swan. Mantap was paired with the noted
Bharathanatyam artiste Smt. Sundari Santhanam who enacted the role of King of
Nishadha state, Nala Maharaja for this play.
This dance presentation is a confluence of two art
forms Yakshagana from Karnataka and Kuchipudi from Andra Pradesh. Vyjayanthi
Kashi an acclaimed Kuchipudi danseuse dons the role of Satyabhama - who epitomizes
materialism and unparalleled beauty and Mantap as Rukmini - who symbolizes
Bhakthi and devotion to Lord Krishna.
This act consists of an episode from Ramayana. Here
the role of Manthara is played by Sri Chapparmane Sridhar Hegde, renowned in
playing comedian roles in Yakshagana and Kaikeyi is played by Mantap.