Subtle depiction of Pavitra Bhatt

Holy Krishna Bhatt | Photo courtesy: SR Raghunathan

A beauty place, a soulful orchestral team and a receptive audience – were lucky to get all this for their performance as a part of the 71st annual art festival of the Holy Krishna Bhatt Kalakshetra.

Pavitra is under the patronage of Nityakalayanani Vaidyanathan. He chose to perform the traditional Margem and the classicism was the core of his performance.

After offering Lord Ganesha, he started with the clarity of Adavas with the clarity of Dhruv Alaripu.

Natakurinji alphabet ‘Swami Nan Undhan Adhan’, where devotees seek the blessings of Lord Shiva, was a suitable option for a male dancer. The description of the intense desire and anger of a devotee yearning for philosophy, and the description of the form of Shiva, including his dance, was communicable on which the dancer put his thoughts.

Natakurinji alphabet ‘Swami Nan Undhan Adhan’ was a suitable option. Photo courtesy: SR Raghunathan

Pavitra’s acting was marked by nuances. In the initial order of the devotee who worships, the way he covers Panchkacham, puts a garland and puts a kumkum, he is noticed in detail. The depiction of various dance postures of Nataraj and the story of transition between man and woman for Ardhanari and Markandeya’s story was well described. The slightly higher intensity in internal the character’s feelings will take Pavitra’s acting to the next level.

In the first batch, the initial fours of the Nrita were attractive, and as it caught pace, the alien and the mridalist with vibrant batter, there was a synergy between the dancer and the mridalist, which increased the effect of the alphabet.

Focusing on Kshetra Padam ‘Chudare’, where a woman is gossiping about another woman with her friends who shamelessly go to the residence of Muvvagopala, a difficult task for a male dancer. Pavitra portrayed the sight of jealousy, disdain and silver without making the portrayal feminine.

Nityakalayanani Vaidyanathan performed brilliantly to the cymbals. Beenu proved to be very useful for the singing of Venugopal, Violin of Ishwar Ramakrishnan and the mild performance of Satish Krishnamurthy.