Per Diem & Co


30. Shows


jeudi 12 novembre 2009, par perdiem

The pieces below are available on tour.

Presenters : you may download the leaflets, technical riders and high resolution photos on ESPACE PRO.


6 dancers
and 5 musicians.

Madhavi has trained her niece Arushi Mudgal since her childhood and her presence in VISTAAR illustrates the continuity in the tradition from Madhavi’s guru Kelucharan Mohapatra to Madhavi herself and now to Arushi. Five musicians play live music composed by Madhavi’s brother, Madhup Mudgal, celebrity in the world of Indian classical music, with traditional instruments.

Superb artists, flamboyant choreographies, extreme sophistication of the music, together join to create a pure moment of grace and spiritualism that stirs the heart and touches the soul.

The sequences of VISTAAR

Ganga Stavan
Group piece
The sacred waters of the river Ganga are invoked - the eternal source of sustenance and rejuvenation. Descending from the peaks of the snow-clad Himalayas, through Shiva’s matted locks, Ganga playfully cascades down several peaks and mountains to purify the earth. May the sacred waters ever protect and enrich us.

Solo by Arushi Mudgal
A visual representation of musical motifs, Pallavi means ‘to elaborate’, ‘to flower’. Music and movement build up gradually into complex patterns through sequences arranged in an aesthetic order, bringing out the architectonics of the technique.

Yahi Madhava
Solo by Madhavi Mudgal
The famous Sanskrit text, Geet Govind, has been a part of the Odissi dance tradition since the time it was written in the 12th century. It extolls the love of Radha and Krishna through their separation, sufferings, anger, supplication and reunion, as an allegory for the human soul’s aspiration for union with God.

In this song, Radha is depicted as a hurt and deceived woman. Radha has eagerly awaited her lover’s promised arrival all night long. Krishna finally appears with the first streaks of dawn in a dishevelled state. She notes the tell-tale marks of his nocturnal dalliance elsewhere : his lips darkened with another’s collyrium ; eyes heavy with sleep and langour ; his chest etched with the nail marks of love play. His wily excuses are to no avail : she is enraged and bids him leave her alone.

Krishna Raas
The season is jubiliant spring.The air is suffused with love and cries and drone of the koel and the bees.A joyful Krishna charms his way into the hearts of the maidens while Radha suffers the arrows of Cupid in this season of love. One maiden sings while the other plays an instrumen. Yet anther one jingles her bangles to match the notes of Krishna’s flute. Krishna’s smile enchants the maidens who vie with one another for his attention. They sing and dance together in celebration.

The vistas created by musical spaces, both rhythmic and melodic, are explored through the vocabulary of Odissi movement. The basic time cycle forms the foundation upon which myriad expansions of rhythm, movement and spatial structures are created .


15 dancers and 10 musicians, for open air festivals

Madhavi has choreographed this show for a large number of dancers, as she does in its presentations unanimously acclaimed in India. While Indian dance has long been presented in the West in the form of solos or duets (for obvious economic reasons), traditional festivals in India welcome compositions much more impressive, as bas reliefs of the temples, still visible today, reflect the origin.

The sequences of ANANYA

Ranga Stuti
A meditative invocation of Space with the stage as its representation and source of artistic ceativity. With verses from a 12th century compendium on the grammar of Indian dance,the Abhinaya Darpana, the dancers ask for blessings.

An expressional piece describing the advent of spring : "The trees are laden with flowers, the ponds are abloom with the lotus, the breeze is heavily scented, the nights are as delightful as the day. O beloved ! All beauty is augmented at this time of the year. Young maidens, with love-lorn hearts pierced by the cries of the koels and the humming bees, wander aimlessly. Spring, as Cupid incarnate, arrives in all his resplendence, conquering the hearts of all."

The dramatic interpretation of a mythical tale, from the great Sanskrit poet Kalidas’ Kumarasambhavam, which describes the coming together of the cosmic couple, Shiva and Parvati. Shiva destroys Kamadeva, the God of Love, obviating union with Parvati. A determined Parvati undergoes severe penance against all odds to obtain her husband’s hand. Roused in his meditations by her efforts, a pleased Shiva teasingly tests her devotion. In disguise, he speaks ill of himself, only to be rebuked by an angered Parvati. He reveals his true form, and they unite.

The show ends with a short piece as an epilogue. According to the Vedic thought, the ultimate aim of human endeavour is to merge with the absolute. Towards this end, disciplining the body and the mind, the dancer seeks stillness through movement.

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