Sanathana Natyalaya and Nrityaangan, dance faculties based mostly out of Mangaluru, introduced ‘Nagamandala’ by the Bengaluru-based Punya Dance Firm, which is headed by Parshwanath Upadhye, and co-headed by Adithya PV and Shruti Gopal.
‘Nagamandala’ is impressed by Girish Karnad’s play by the identical title. It’s based mostly on a folklore from North Karnataka a couple of girl craving for love. Parshwanath Upadhye has added songs to it and a few prospers. He shares the credit score for the gripping choreographic narration with Shruti and Adithya.
Rani is newly married and is filled with keen expectations. Her husband avoids her and closes the door on her repeatedly. She tries to organize a love potion with a magical flower from the forest and provides it to her husband. However, that potion spills on an ant hill outdoors and is consumed by the king cobra that lives inside that. The cobra is keen about passionate love for Rani, and it takes the type of her husband, and visits her. Rani feels very blissful that her husband has lastly began exhibiting curiosity in her. However the husband closes the door on her once more. She is intrigued as to why the husband who gave her a lot love is avoiding her now.
There is no such thing as a excellent finish to the story. One is left questioning what is going to occur to Rani as soon as she finds out the reality. The explanation for the husband’s spurning his spouse’s consideration can be not said clearly. Maybe it was meant to be a mirrored image of the unexplained issues in some marriages.
The presentation was crammed with power and style. Shruti was the quintessential girl, full of affection and want and she or he powerfully introduced her disappointment, anger and frustration, every time her husband ignored her. Parshwanath Upadhye performed the husband, a typical chauvinistic male who refuses to even recognise the presence of his spouse and is detached to her emotions. Adithya because the shape-shifting king cobra blended the highly effective actions of the male and that of the love-smitten snake. One nearly felt sorry for the cobra.
The three artistes took the spectators into their world with their skillful and devoted performances. The sunshine design by Keerthi Kumar, which just about grew to become a personality within the manufacturing, performed a giant function in creating the temper and atmosphere. The story was narrated by way of Gigi Pada, a preferred people artwork type of North Karnataka, with the native Kannada dialect because the medium of narration, and set to highly effective and haunting music. The spectators misplaced themselves in a world through which actuality and fantasy blended seamlessly.