Pial Bhattacharya’s ‘Marga Natya’ is a mixture of western and Sanskrit theater traditions

“” Marga Natya “is not a form of dance, but a process by which any art businessman is trained on self-awareness and examines their characteristics-Gatham, Sangeet, System, Nritam and Natem-all are based on the Natashastra of Bharata. Sanskrit language He established the Chidakash Kalle Kendra of art and divinity, known for practicing ‘Marga Natya’, which is a functioning developed by him.

“After studying various theater forms like Brecht and Peter Brook in the West. I deepened in Indian classical arts and saw the Sanskrit theater again to come up with the ‘Marga Natia’ method. It is just a discovery that is focusing on Lakshmi Vastu. Rashtri Sangeet Nataka was performed by Nandini Ramani in Chennai. The ‘Marga system of aspects and its major aspects. Their lectures were inspired by their students’ performance.

Pial Bhattacharya | Photo Credit: Special Arrangement

“The purpose of this functioning is to make the actor aware of his internal voice and realization that the inner space begins with an understanding of the external place. Cleaning the physical space in our center and being comfortable with dogs, cats and birds, is a part of the training process.

“Each actor develops his own attitude to imagine a brief or a scene. I do not apply it to them, but play the role of a visual editor. This process helps them develop their personal vocabulary, method and answer in a collective landscape,” says Piyal.

Coming from a family of artists – Pial’s father was immersed in Dhrupad and mother’s study in Ravindra Sangeet. So his love for art came out quickly. Apart from music, he also trained in the Abanindranath Tagore style of painting.

‘Upopak Bhanak’ performed by Pial Bhattacharya’s students. , Photo Credit: Chidakash Kalle Facebook page

Later, he learned dance from Tanushree Shankar at Anand Shankar Dance Academy and became fascinated by Kathakali and learned it from Kaushik Chakraborty, a disciple of Govindan Kutti in Kolkata. The desire to pursue Kathakali, took him to Kerala Kalamandalam, where he studied it for six intense years.

In 1997, a lecture on Natashastra by Dancer-Schollar Padma Subrahmanyam at Swarna Samaroh submerged him in a serious study of Sanskrit plays. He also learned to play the role of Rudravina from Dagar family, Saraswati Veena, Pakhwaz, Pung Achoba and Muhaju.

“My research is based on the scriptures rather than sculpture. After rebuilding the dance and theater concepts, I transferred to the reconstruction of music mentioned in Natashastra. Sikkim also has a visiting faculty.

Students of Chidakash Kalle were performing in the President Sangeet Nataka Nataka Samlenam. , Photo Credit: Chidakash Kalle Facebook page

“The Sanskrit theater is not just anything where dialogues occur in Sanskrit, but it includes many other features such as costumes, props, jewelery and dialects present in the dialects.

Pial has directed such plays Chitra Purvaranga, Upurupaka Banaka, BhanikaIn addition to adopting five plays of Bhasa: Bhasa Bharati, Megadhutam And Ritu Samaram Kalidasa, with his most recent work Chaturbani. Says Pial, “The theater’s chase is known as re -organizing the medium and not based on my personal craze.”