Видео

Beautiful coordination

super natakam geetham abinayam sarvam bahu uthamam👌👌👌

bahu sreshta bhashanam 🙏🙏

Very very ❤❤❤❤❤ good 👍

राम कृष्ण हरी 👌👌👌

Doot Vaakyam authored by Mahakavi Bhasa The play Duta Vakyam enacted at Bhaaratiy Vidya Bhavan, Bengaluru on the 19th August, 20241 proved to be great. The drama is supposed to be a one act play falling under drushy (दृश्य)-which is seen type. However, Natya being one of the 64 arts, the form of presentation may change to suit the author/ director / performer’s choice keeping content of original scripture unchanged upon which the act is based. Hence, different individuals enacting different characters is accepted while staging a drama . The play ‘Doot Vaakyam’ is based on a part of one of the smruties, Mahaabhaarat. Mahakavi Bhasa, a reputed and honored dramatist of ancient Bhaarat, popular for many centuries has made a few changes vis-à-vis the epic Mahaabhaarat. Yudhishthir was worried that KrushN’s presence might not be welcomed there. Moreover, all the warriors assembled under Duryodhan’s control, making Krishna’s journey a potential risk. While KrushN acknowledged Duryodhan’s deceitful nature, suggested attempting a peaceful resolution. He assured YudhishThir that even if his peaceful efforts failed, he would not let any harm come to the Pandavas. This hints KrushN’s well planned apt preparedness. Observations: Naandee (नान्दी) was missing. In Bhasa’s plays, a stage direction is supposed to be occurring first and then a verse resembling naandee (नान्दी), prayer, is recited behind the screen before the entry of soootradhaar on the stage. The sootradhaar is supposed to introduce the play to the audience in short. The nandee आशीर्वचन सयुक्ता नित्यं यस्मात् प्रयुज्यते । देवद्विजनृपादीना तस्मान्नान्दीति कीर्तिता॥2 would have fitted better. Roles and emotions: General: The actors in general played their roles aptly conforming to the four basic types of acting, धीरोदात्त (magnanimous), धीरोद्धत (violent), धीरललित (graceful), धीरशान्त (calm). However, there was room for better presentation of rasas (रस), Costume and expressions. BaadaraayaN: There is no scope for a character ‘BadaraayaN’ (synonym for Ved Vyaas) in the play. In fact, that character should have been named as Kaanchukeeyah (काञ्चुकीय:). Kāñcukīya (काञ्चुकीय) or Kañcukin should be translated as ‘armour-bearer’3. The Kaanchukeey is supposed to be a Passionless Brahmins who have knowledge and wisdom being in charge of (the king’s) armour and crown, and holding a cane-stick (as symbol of their authority)4 & 5. Duryodhan and KrushN: Role of Duryodhan overshadowed the role of KrushN. Conforming to KrushN’s various expertise and skills known for as a person and also as controller, enough justice was not made to KrushN’s role as a strategist peacemaker. Therefore, Durodhan’s and KrushN’s roles should have been given justice at par, pretentious (अहंमन्य) and strategical (धोरणात्मक) respectively. The actor playing Duryodhan displayed various rasas like heroic (वीर), furious(रौद्र), frightful (भयानक), loathsome (बीभत्स), marvellous (अद्भुत) and pathetic (करुण), the actor playing KrushN displayed superiority (वर्चस्व/श्रेष्ठता) most of the time. Diplomatic calmness was missing. Shakunee: Costume and beard caressing action of Shakunee did not match the character he is known for. He looked more like a present day anti-social element. Vishwaroopam: KrushN did not try to show off his personal warheads but made the Kauravas aware of military preparedness by illusionary darshan of strength of key allies of pandavs i.e. Panchals, Matsys, VrushNies etc6 & 7 who will charge on Hastinapur and destroy kauravs if Duryodhan takes KrushN in custody. He did not show ‘Vishwaroopam’ in Kuru assembly hall (सभागृह)8. Arms and weapons: Expressions of those who played role of arms (शस्त्र) and weapons (अस्त्र) should have been emotionless because arms and weapons act at the will of the bearer without accounting the status of ones whom they attack. Their costumes should have been radiating fearlessness (red or saffron). References: 1. ruclips.net/video/i0Nxule8v40/видео.html 2. 2015.406458.Duta-Vakya (pg.20-21) - Naatyashaastram 5-24. 3. Kauṭilya’s Arthaśāstra (2.4.23) 4. Śāradātanaya in his Bhāvaprakāśana 5. www.wisdomlib.org/definition/kancukiya#natyashastra 6. mysutradhar.com/blogs/news/how-big-were-the-armies-in-the-mahabharat-war 7. Mahaabhaarat KhanD 3 - Udyog parv 131.1 to 131.15 - Pg.855 - 856.pdf ( Ref:The-mahabharata-of-dwaipayana-vyasa-18-volumes - Geeta press book 34) 8. Vishwaroopam was shown thrice namely (1) to Yashoda when KrushN was a child (b)to Arjun during the war (3) to Uttaan while returning from the war.

Kāñcukīya (काञ्चुकीय) or Kañcukin should be translated as ‘armour-bearer’ and not as ‘chamberlain’ which term should be used for sannidhātṛ; See Kauṭilya’s Arthaśāstra (2.4.23). Śāradātanaya in his Bhāvaprakāśana defines the Kañcukīya as follows: Passionless Brahmins who have knowledge and wisdom being in charge of (the king’s) armour and crown, and holding a cane-stick (as symbol of their authority), are called Kañcukīya by the wise.

Gifted singer...

❤🎉

It feels great to see our traditional language restored and practiced in such a beautiful way.

बहु सम्यक् कार्यक्रमः ।नाटक तु न विस्मरामि👌👌धन्यवादाः सर्वेभ्यः🙏

प्राज्ञाः विवृण्वन्तु किमर्थं दुर्योधनः स्वस्य सेवकं "बादरायण" इति सम्बोधयति? Badarayana is a name attributed to Sage Vyasa himself by Adi Sankara, So I am confused why Duryodhana addresses the Chamberlain (काञ्चुकीय) as "Badarayana!"

ಆಹಾ ಅತ್ಯಂತ ಸುಂದರವಾದ ಕಾರ್ಯಕ್ರಮ, ಅತ್ಯುತ್ತಮ ಗಾಯನ, ವಿವರಣೆ, ತಬಲ, ರಿದಂ ಪ್ಯಾಡ್ ಮತ್ತು ಕೀಬೋರ್ಡ್ ನುಡಿಸುವಿಕೆ !! ♥♥♥

ಹೃದಯಾಂತರಾಳ ಸ್ಪರ್ಶಿಸುವ ಪ್ರಸ್ತುತಿ... ಮನ:ಪೂರ್ವಕ ಅಭಿನಂದನೆಗಳು.

Shree Yella ,,Kala kar Aawarige tumba Danywad

🥇

Too good 👍

Well done team 👏 👍

Wonderful performance ❤, beautiful coverage of all our festivals

Athi sundaravaada, arthabharithavaada, adbhuthavaada sandesha matthu haadugaarike ...👌👌👌💐💐💐🙏🏼🙏🏼🙏🏼 Sri Shankar Shanbough Gurugalige namaskaaragalu🙏🙏🙇‍♀️🙇‍♀️

Yellarannu ,yellavannu thoredu baduka bahudu...Sri Hariya charanava bittarey kettevu... Sri Krishnaa🙏🙏🙏🙏🙏🙇‍♀️🙇‍♀️🙇‍♀️🙇‍♀️🙇‍♀️

How does a विद्याभवन get away with its logo saying विध्याभवन?

ಧನ್ಯ ಶಂಕರ್ ಶಾನಭಾಗ್ ಧನ್ಯವಾದಗಳು

Very nice Programme

Real eye opening lecture. Thank you

ಧನ್ಯೋಸ್ಮಿ ಧನ್ಯೋಸ್ಮಿ ❤ ಶಂಕರ್ ಶಾನುಭಾಗ್ ಅವರಿಗೆ ಶಿರ ಸಾಷ್ಟಾಂಗ ನಮಸ್ಕಾರಗಳು...❤

Side instrument Artists also wonderful!! Ask them to smile smile!?!?

SS God has already decended on earth ! U can definitely see HIM and make others also can see HIM !!!!!

SS is unique person!?!

Om shanti. Super programme. Pray SS pl continue your Sangeeta Seva

Very good program thanks to all Artists & organizers. 🙏🙏

Sahithya artha madisi haadu kelisidakke thumbu hrudayada dhanyavaadagalu.inthavaru bahu virala shanubhogaravare nimage neeve saati.

Very nice good performance

Superb sherin

❤❤❤

Wow ❤️❤️ sherinji & team ❤️❤️❤️

Super

Super performance dear 🌧️

❤❤❤

👏👏👏👏👏👏🎉🎉🎉 congratulations all of you and blessings 🙏🕉️

மிகவும் அருமை 🎉 அனைவருக்கும் நல்வாழ்த்துகள் 🎉

What a women. I am amazed by her knowledge

பாடுபவர்கள் அனைவரும் ஓர் இசையாக மழையாக பொழிகின்றனர்🎉🎉🎉❤❤❤🎉🎉🎉

மழையின் அருமை தமிழ் இசையில் பொங்கி வழிகிறது.

🎉🎉🎉🎉🎉🎉

ದೈವಿಕ ಗಾಯನ..... ಶಂಕರ ಶಾನಭಾಗರಿಗೆ ನಮೋ ನಮಃ

Excellent performance Anusha💐💐

Both teams did a wonderful job. Really enjoyed watching.

மிகவும் இனிமையாக அருமையாக உள்ளது அனைவருக்கும் வாழ்த்துக்கள்

Kudos to the Isha samskrithi students and their guru who trained them. It was a pleasing performance. The hard work of practice is evident The choice of song selection greatly matched the themed event. The thilana was pleasantly vibrant, and a song from Thiruvarutpa agaval is commendable. Cheers well done