వాస్తవం చాలారూపాలలో ఉంటుంది;కాని కాల్పనిక కథకి ఒక రూపమే ఉంటుంది’.‘భక్తి సాహిత్యంలో కవి చెప్పేది సగం మాత్రమే;మిగిలిన సగం పాఠకులు పూరిస్తారు, ఇది భక్తి సాహిత్యానికి ఉన్న ఒక స్పష్టమైన లక్షణం,’-V.N.Rao

If Sringara is the most poetically delineated emotive experience of Annamacharya, in Sri Rallapalli Anantakrishna Sarma's words " the great soul who has the rarest distinction of elevating it to lofty spiritual heights is Annamacharya".And that, indeed is the end of all conceits.


Annamayya all the way

Event held at Saptaparini ,by Dr Anupama Kylash
Summary of The Hindu Friday Review on March 25, 2016 ( by Sri Gudipudi Srihari) as Below:
‘Jeeva Nayika’, who’s Alamelu Manga was described as ‘Sweeya Proudha’ (mature) ‘Swadheenapatika Nayika’, also revelling in her husband’s love. In presenting these traits, Anupama used the kirtana of Annamacharya Etuvanti Mohamo Intha Napai Athaniki rendered by her Sakhi, friend of the Nayika. The kirtana lauds Vishnu for saving Gajendra from a crocodile as described in ‘Gajendra Moksham’ sequence that helped the dancer to present abhinaya in detail. Then it was the turn of Nayika to praise grace and beauty of her Lord narrated in the song Naa Ramanuni Choodare Nalimaakshulaala . While presenting the two characters of Nayika and Sakhi, Anupama presented the heroine in Vilasini style of dance and when it was the turn of Sakhi she used Kuchipudi system of expression.
In another segment Anupama came out with different states of ‘viraha’, experienced by the Nayika expressed in the kirtana of Annamayya Valapula Daadi Vacche Vanitalaaraa .
This too gave enough space for the dancer to present graceful abhinaya playing up how the lord of Love ‘Manmadha’ troubled Nayika, the heroine. There were many more imageries imbedded in that kirtana. There was another song Chaalu Chaalu Vaadu Leni Janmamelaa of different tenor filled with Nayika’s reminiscences. Here too Anupama applied two dance styles presenting this time Vilasini in Mezuvani style with dancer squatting on the floor presenting theme in abhinaya, which is called ‘Suddha Lasyam’.
Later Anupama brought in three songs depicting ‘Samaanya Naika’ in the song Kannavaaride Kaadaa Kandikudumannamaata , depicting intelligent Samanya Nayika who uses intricate web of words intelligently to convince the hero. Vilasini style suited this part. It carries all the characteristics of a Javali. The final segment of the dance ballet brought in the heroine called ‘Parakeeya Abhisarika’ that began with another slokam from the same ‘Rasamanjari’. Kondalalo Koyila Kooya reflected the nayika called ‘Abhisarika’. She craves to meet her lover, her lord, for a union. It ends on a philosophical note called ‘Tattvam’ where; the bhakta seeks oneness with Lord.
The ballet was presented to pre-recorded music with prime singer Swetha Prasad rendering the songs with right import of sahitya. Renuka Prasad was the nattuvanar.
Sridharachraya on mridangam, Phani on veena and Venkatesh on flute were the accompanists. Concept, visualisation and choreography were by Anupama Kylash.

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