It was a pleasure to dance the next day at the historic Gaiety Theatre the next day. Yet the performance energy and even the subtlety of abhinaya will be modified depending on the size and distance from the audience. RIMPA, The Ravi Shankar Institute for Music and Performing Arts, offers a baitak experience through its annual festival. A small gathering of knowledgeable dance lovers was all that was needed to spread the word and performance opportunities for a fine young dancer. Sangeet Natak Akademi has also created a beautiful baitak space on their premises and many other institutions also have intimate performance spaces.While every performance space has its own character and impact, the intention and ability of the dancer can also transform how this is experienced by the audience. No one present will ever forget the time Guru Kelucharan was performing the Geeta Govinda Ashtapadi, Pashyati Dishi Dishi at an outdoor venue and the lights went out. At Trafalgar Square, Kathak dancers performed Kumudini Lakhia’s choreography in a production designed by Naresh Kapuria for the U. This jewel box theatre was built by the British in 1887 as the first proscenium stage in India.
Conversely, one can see a temple festival atmosphere reduced to a Nautch by a dancer. Essentially, the dancer is affected and sometimes inspired by the performance space.Generally, western concert performance choreography uses the architectural space of the stage and must be rehearsed in situ, whether stage or other venue. I recall dancing on the Simla Mall for an audience of 20,000 and trying to make the performance “large” enough to be seen at a distance while not seeming overly exaggerated for those close up. He or she must be conscious of how use it effectively as a partner in communication.I generally tell my Decorative Light Manufacturers students to look slightly below straight ahead as most theatre seating will otherwise have the audience will be looking at their chin at their chin as they look out over their heads. A chapter, at least, could be on floors alone: flat and raked, sprung wood, marble, uneven ground and treacherous covered platforms that break toes; another on the space of the small and large screen and how to approach this from a camera’s view rather than a stationary audience. An audience size of 150 to 250 is ideal and beyond 600 the impact is vastly diminished.
It is possible to create a sacred space in a hotel lobby or pre cocktail conference performance.workshop@gmail.com.The subject of dancing spaces could certainly fill a book.Anytime one dances under the night sky, encrusted with diamond-like stars, artist and audience can feel the breadth of the universe as the setting; quite different in its magic from the safely managed enclosed space of a proscenium stage.Baitak performances are perhaps the best model for both artist and audience with the intimacy of connection between rasikas and the performer. In the 70’s when I first came to India, I recall this was the model for introducing a professional artist to connoisseurs. With, both a shrine to Govindaraja, the reclining form of Vishu and one dedicated to Brahma-Chandikeshvara in the same courtyard, I had not only the bewilderingly awesome experience of raising my gaze, but also attempting to addressing the dance offering to both in their individual shrines at the same time! Dancing at the stroke of midnight for devotees, under the open sky on the stage at the temple was marvellous, but I still get shivers of delight when I recall the feeling of looking from one deity to the other inside the temple.
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