| SOLO / DUETS
Dhananjayans added
a new dimension to Bharatanaatyam, which inspired other people to start
adapting. He
coined new words like Naatyaanjali and Nrutyopahaaram which he felt had
more meaning than calling them alarippu or jatiswaram.
Dhananjayan
and Shanta have handled traditional as well as novel and contemporary themes.
They follow the Kalakshetra style of dancing, enhanced by their own interpretations
and expressions. Dhananjayan�s keen sense of observation and thought to
minute details, Shanta�s work in implementing it, their extraordinary training
and teaching capacities have resulted in highly aesthetic compositions.
�We are
able to combine the good element of the expressions of Kathakali into Bharatanaatyam
technique. After all, both are based on Natya Sastra. A lot of technique
has been lost in Bharatanaatyam as a solo. Since I have the advantage of
knowing both Bharatanaatyam and Kathakali, I use it as my 2 eyes. That�s
the secret of our success.�
Dhananjayan�s
histrionic ability is astounding. He is comic as Soorpanaka, entertaining
as Singa, the gypsy, moving as Nandanar, dramatic as Emperor Ashoka in
Sanghamitra and Bheema in Mahaabhaaratham, pious in his delineation of
spiritually inspired characters like Thyagaraja.
This prompted
critic Hima Devi to write thus in The Afternoon Despatch & Courier
dated Sept 9,1988
Review
�Dhanajayan
is a consummate actor, with the supreme power of being able to turn himself
into anything, in the twinkling of an eye -from an elephant in a fatal
agony to a humble Harijan whose dream is �temple entry.� |
Partners on and
off stage, the Dhananjayans perform with a rare togetherness, born of years
together as a dancing couple. |
