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[Full title: Desi forms of Tamilnadu (6): 叠丑腻驳补惫补迟补-mela 狈腻峁璦办补]

Bhagavata-mela 狈腻峁璦办补 starts with a 迟辞岣峚测补尘补峁単补濒补, which is followed by the entry of the 办辞峁嘺峁単颈. His gait is performed in a peculiar way with utplavanas, 惫颈办补峁璦 办补谤补峁嘺蝉 such as argala and so on. The gait of the 碍辞峁嘺峁単颈 in the 苍峁泃测补苍腻峁璦办补 and bh膩gavatamela n膩峁璦ka not only sends the audience into roars of laughter but also serves to rivet the attention of the audience on the coming play. 叠丑补驳补惫补迟补尘别濒补苍腻峁璦办补 is characterised by superior music, superior 蝉腻丑颈迟测补 and superior dancing. The movements in these dance dramas were all based on the 狈腻峁瓂补艣腻蝉迟谤补 and post -Bharata texts.

Every character has a 辫谤补惫别艣补 daru for his entry. These harus are set with beautiful slow movements based on the 迟腻濒补 settings, which are suitable for abhinaya interpretation and footwork. In content, the daru gives us the idea of who enters and the mood and the circumstance of the entry.^[1] The parikramas are seen as in the 狈腻峁瓂补艣腻蝉迟谤补, where the character moves around the stage in a circular motion before and after each song or dance is performed. Other than this, some of the 肠腻谤颈蝉 like 蝉补尘补辫腻诲补, 惫颈肠丑测补惫腻, 补迟颈办谤腻苍迟腻 and 箩补苍颈迟腻 are performed to move around the stage.

The highlight of the drama Bhakta Prahalada caritra is the conversation between 狈补谤补蝉颈峁僪腻 and Hiranyakasipu where the character stands beneath the stage and here the gait of 贬颈谤补苍测补办补艣颈辫耻, forward and backward towards 狈补谤补蝉颈峁僪补 is very interesting. This gait will be in 惫墨谤补 gati, heading on a fight with 狈补谤补蝉颈峁僪补.

Footnotes and references:

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[1]:

Sanskrit drama by Dr.V.Raghavan. p. 380