The stage was naked, save for the three dancers seated in silence. Before a be aware of music was performed, Uttiya Barua and Radhika Vairavelavan bowed as Ramakrishna and Sarada Devi, whereas P. Sundaresan stood earlier than them in quiet worship. This second set the tone for the night’s efficiency.
From this opening, the narrative unfolded into Ramakrishna’s early non secular journey. Uttiya Barua’s abhinaya portrayed his devotion to goddess Kali, his longing, and his moments of transcendence. In a placing soundscape, chants of ‘Allah’ and ‘Hallelujah’ intertwined with Sanskrit hymns, symbolising Ramakrishna’s perception that the divine might be approached via all faiths.
Sarada Devi’s presence was woven delicately into the narrative. Radhika via delicate expressions and restrained actions, dropped at the fore her quiet acceptance of life’s challenges and her non secular power.
Uttiya Barua, Radhika Vairavelavan and P. Sundaresan acting at Narada Gana Sabha
| Photo Credit:
B. Jothi Ramalingam
The efficiency then moved to the lifetime of Narendranath Dutta, born to Vishwanath Dutta, who would later turn into Swami Vivekananda. Sundaresan captured the younger man’s doubts, questions, and looking spirit. The narration highlighted his encounters with Ramakrishna and how the guru’s steerage reworked his path.
A very considerate interlude got here with the story of Nachiketa from the Katha Upanishad, the boy who questioned Yama, the Lord of Death, about the that means of existence. Woven into Vivekananda’s journey, the episode mirrored his unyielding pursuit of reality and deeper understanding. The narrative then carried the viewers to Chicago, 1893, the place Vivekananda’s voice rose in his historic deal with at the World Parliament of Religions: “Sisters and brothers of America…” Through exactly layered sancharis, the choreography adopted his transformation from a questioning disciple right into a non secular chief, who carried India’s philosophy to the world stage. The segments additionally featured Vivekananda’s teachings, culminating together with his timeless exhortation: “Arise, awake, stop not till the goal is reached.” This phrase turned the efficiency’s anchor, visually mirrored in expansive, synchronised actions.
Three dancers hint a the journey of Ramakrishna, Sarada Devi and Vivekananda
| Photo Credit:
B. Jothi Ramalingam
The orchestra for the night featured Sourav Das on vocals, L. Narendra Kumar on nattuvangam, M. S. Sukhi on the mridangam, T. V. Sukanya on the violin, Aju Ambatt on the flute, with voiceovers by Sankar Ganesh and Anna Purani.
By conserving the stage and costume easy, the manufacturing drew consideration to the tales.
