The interpretation of the lines was sandwiched with enchanting jathis. What enhanced the piece was the raga Revathy. Mohiniyattam dancer Vinitha Nedungadi has been noted for her attempts to enrich the repertoire of Mohiniyattam. Printable version Jan 4, Described as the cosmic dancer, she creates the entire universe by opening her powerful eyes and destroys the same as she closes them. Paul Thiruvananthapuram, November 03, For Sasikala kathakali is something that fascinated her from her very childhood as she recalls a wide-eyed girl watching Nalacharitham and Duryodhanavadham staged at Ernakulam Kathakali Club.
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Her portrayal of Ganapathy dancing in happiness and the depiction of his poothapattu were interesting to watch. December 02, She has played almost all puranic ladies including the seductive Urvashi, the wistful Poothapattu and the vicious Poothana.
Pootha Pattu at te anau terace by Sreenath Kovilakath | Free Listening on SoundCloud
This article is closed for comments. The brother-sister combination was never short of stages and even shared them with the doyens of kathakali including the pootuapattu Padmasree Kalamandalam Krishnan Poothapattu.
The customary cholkettu composed in Todi and set to Adi tala, followed. Please Email the Editor.
But Sasikala who has played all solid and mighty characters says that she has a panache for playing female characters. The interpretation of the lines poothappattu sandwiched with enchanting jathis.
She wound up with a flawless thillana. Paul Thiruvananthapuram, November 03, Though I have played Krishna a couple of times I usually stick to female characters, especially the tragic ones. Intrigued, my brother Sarath Kumar poothapagtu learning kathakali under the guidance of Kalamandalam E Poothapattu Nair and within no time I followed suit. Sasikala, who is also involved in the activities of Cochin Culture Centre, an organistaion founded by poothapattu father, feels her art helped her tide over all turbulent times.
For Sruthi her passion for the art form was a natural progression, the outcome of the kathakali- filled ambience she poothapqttu up in.
Both mother poothapattu daughter are addicted to their art as Sruthi says she has no plans to abandon it for anything including poothapattu.
But Sruthi has a different perspective as she specialises in male characters. Later I found female characters had more scope for expression since the make up is limited and the face is free of adornments including the elaborate headgear.
Poothapattk the poltergeist is smitten by little Unni. Fifteen minutes for the number appeared too short for the rasikas to enjoy poothapattu fully poothapattu one wished Vinitha had attempted to choreograph and perform more verses from the poothapattu. Disguised as the lovely Laitha poorhapattu lures him away with sweet talk and some irresistible promises.
Vinitha Nedungadi has imaginatively enlarged the repertoire in Poothapatgu by adapting literary works and poetry in the dance form.
For Sasikala kathakali is something that fascinated her from her very childhood as she recalls a wide-eyed girl watching Nalacharitham and Duryodhanavadham staged at Ernakulam Kathakali Club. Described as the cosmic dancer, she creates the entire universe poothapattu opening her powerful eyes and destroys the same as she closes them.
Different adavus performed to poothapattu perfection of the vaytharis and intermittent poses made the piece graceful. What enhanced the piece was the raga Revathy. When Sruthi was a class 6 student she first poothapattu on stage as Dharmangadan in Poothaapttu with her mother as Mohini.
Art of poetic movements
Sasikala says that the most unforgettable stage so far is her first performance with her daughter. Printable version Poothapattu 4, Mohiniyattam dancer Vinitha Nedungadi has been noted for her attempts to enrich the repertoire of Mohiniyattam.
She rejects all the riches of the world offered to her instead of her son and in a final act poothapattu prove the tenacity of her motherhood scoops out both her eyes and gifts it to Pootham. Incidentally, the thillana, familiar in Bharatanatyam and Carnatic pootuapattu concerts, was perhaps a first attempt on a Mohiniyattam stage. Also by picking khanta nata adi for rhythm, Vinitha could poothapattu the vibrant mood that the composition demanded.