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SAVITHA SASTRY BLOG

A blog about Indian Classical Dance, Bharathanatyam and the evolution of tradition

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SAVITHA SASTRY BLOG | blog.savithasastry.com Reviews

https://blog.savithasastry.com

A blog about Indian Classical Dance, Bharathanatyam and the evolution of tradition

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1

SAVITHA SASTRY BLOG: September 2013

http://blog.savithasastry.com/2013_09_01_archive.html

A Bharathanatyam Artist's perspective on dance, tradition, and change. Tuesday, September 24, 2013. The Prophet' - What it is, What it is not. The Prophet' - Tour details. The Prophet' is a fictional biography. It is not a philosophical examination of concepts larger than the self. Actually, it is a case study of the self. The words we used in the promotional video - "Who am I? The Prophet' will raise questions in the minds of people. "Who am I? This is probably closer to the core of the story and its pe...

2

SAVITHA SASTRY BLOG: December 2014

http://blog.savithasastry.com/2014_12_01_archive.html

A Bharathanatyam Artist's perspective on dance, tradition, and change. Tuesday, December 9, 2014. 8220;A part of India’s soul resides in South Africa as a revered part of our national life” – Nelson Mandela. Cape of Good Hope - an idyllic moment. 8220;South Africa is not like Africa”, said a fellow traveler from Eastern Europe. “It is far too westernized with its infrastructure, standards of living, and development.”. It is South Africa and that is its identity. At the workshop in Durban. But in their cu...

3

SAVITHA SASTRY BLOG: October 2013

http://blog.savithasastry.com/2013_10_01_archive.html

A Bharathanatyam Artist's perspective on dance, tradition, and change. Saturday, October 26, 2013. Of illusions, perceptions, and percentages. Has anybody ever seen a dramatic critic in the day time? They come out after dark, upto no good." - PG Wodehouse. I feel like Don Quixote. I am fighting illusions. And the illusion I keep fighting is the one that critics keep bringing back – is what I do, dance? The battle between a traditional establishment and an experimental approach is nothing new. That there ...

4

SAVITHA SASTRY BLOG: May 2015

http://blog.savithasastry.com/2015_05_01_archive.html

A Bharathanatyam Artist's perspective on dance, tradition, and change. Sunday, May 3, 2015. Gone With The Wind. I must have seen this many times before, but this time I really put my thoughts on it. I am referring to Edvard Munch's painting titled 'The Scream'. What it features is a woman on a bridge screaming in what seems like terror. The bold brush strokes and an intriguing portrayal of a moment frozen in time lends itself to myriad interpretations. What led to that moment? How did it go from there?

5

SAVITHA SASTRY BLOG: The Vanity of Being Modest

http://blog.savithasastry.com/2014/11/the-vanity-of-being-modest.html

A Bharathanatyam Artist's perspective on dance, tradition, and change. Sunday, November 9, 2014. The Vanity of Being Modest. With the D-day for ‘Chains’ - my new production, coming around in just about two months, the level of activity for the artistic direction turns frenetic. Nothing new in that one; the (now) famous ‘Dance of Doubt’ from the ‘The Prophet’ settled to ‘this-feels-perfect-now’ roughly two weeks before the show. From the photo-shoot for 'Chains: Love Stories of Shadows'. You step out of t...

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Savitha Sastry

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Ways to support us. About Sai Shree Arts. Soul Cages @ Kolkata. Yudh @ Kamani Auditorium (New Delhi). Soul Cages @ Music Academy (Chennai). Soul Cages @ Tagore Theatre (Chandigarh). Yudh @ NCPA Theatre (Mumbai). YUDH @ Chowdaiah Memorial Auditorium (Bangalore). Prophet @ Ravindra Bharati (Hyderabad). Prophet @ NCPA (Mumbai). Prophet @ Kamani Auditorium (New Delhi). Audience at NCPA (Mumbai). Bharathanatyam Workshop in Beijing. Bharathanatyam Workshop in Beijing. Moves like a temple sculpture come to life.

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A Bharathanatyam Artist's perspective on dance, tradition, and change. Sunday, May 3, 2015. Gone With The Wind. I must have seen this many times before, but this time I really put my thoughts on it. I am referring to Edvard Munch's painting titled 'The Scream'. What it features is a woman on a bridge screaming in what seems like terror. The bold brush strokes and an intriguing portrayal of a moment frozen in time lends itself to myriad interpretations. What led to that moment? How did it go from there?

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