EXPRESSIONS / ABHINAYA
IN PARTNERSHIP WITH THE “GABRIEL FAURÉ” CONSERVATORY – PARIS 5°
Kathak, classical dance of India is not only an extraordinary art form able to captivate the audience with its elegance and charm, but it is also a precious toolbox that holds techniques and working methods that allow to analyze with insight expressions: Abhinaya. This toolbox can be of great interest to dancers, musicians and actors. Maitryee Mahatma, Kathak dancer, breaks down this thousand-year-old know-how into 4 modules, so that performing artists can train themselves specifically in the field they are interested in.
TECHNIQUES FOR USING DIFFERENT PARTS OF THE BODY IN A NARRATIVEE CONTEXT // PURPOSE
- Gestures and hand positions (Mudras)
- Head movements (Shirobheda)
- Use of the neck and the nape (Grihvasanchalan)
- The different types of looks (Drishtibheda)
- Eyebrow expressions (Bhrusanchalan)
- Applications and combinations of the above techniques
This module opens you to all the technical know-how of Indian theatre and dance, in taking as a reference the Natya Shastra (Indian reference treatise on classical theater, music and dance). It allows you to explore all the bodily technical possibilities for narrative purposes. The study of the following modules will be necessary in order to implement these principles.
STUDY OF THE DIFFERENT TYPES OF EMOTIONS (RASSA) // PURPOSE
- Joy (Hasya)
- Sadness (Karun)
- Wonder (Adbhut)
- Love (Shringar)
- Fear (Bhayanak)
- Disgust (Vibhatsya)
- Courage (Veer)
- Anger (Raudra)
- Peace (Shant)
While the previous module focused on a purely technical aspect of the movements, this one addresses in depth all the intentional and emotional amplitude of the latter. This module takes you to observe, analyze and understand the entire emotional expressive panel, through the study of the nine basic emotions (Rassa) and their combinations. The study of the following modules will be necessary in order to apply these principles.
CORPORAL INTERPRETATION OF A TEXT OR A MUSICAL PIECE // PURPOSE
- Work on expression and gesture from a text, a song, a musical piece, a rhythmic sequence
- Elaboration of an idea or a theme through subtleties
- Implementation and improvisation on a proposed thematic sequence
This module trains you to apply all the techniques studied in the two previous modules. At the end of it you will have all the necessary tools for the creation and development of a narrative sequence. The study of the two previous modules is absolutely necessary, before approaching this one.
TERMS OF PARTICIPATION
• Pupils, students, teachers, professional and amateur artists – Any level (initiation, improvement, widening of skills).
• Dancers, musicians and actors
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Born in Calcutta, India, Maitryee Mahatma started Kathak dance with Sri Shikha Khare and then she was trained by Kathak’s greatest dance master, Pandit Birju Maharaj. In Paris for four years to do a doctorate in literature at the University of Paris 13, she continued dancing with Sri Sharmila Sharma. Today she continues to deepen her art with Pandit Ashimbandhu Bhattacharya. On stage from the age of 10, his dance is marked by his grace, the subtlety of his expressions and the rhythmic work of the feet. While respecting the rigorous grammar of his art, Maïtreyee was able to translate complex rhythms into poetic images. “The bowls, rhythmic sequence, are not just sounds, it’s a whole language! They talk to me and I translate everything they tell me into a gesture.” In France since 2002, she has performed in Europe with well-known Indian singers and musicians (Pandit Sukhdev Prasad Mishra, Pandit Saugata Roy Chowdhury, Pandit Chiranjib Chakrabarti and Nabankur Bhattacharya). More recently she performs with the Jhankar Company which is an Indo-French collaboration composed of four artists: Nabankur Bhattacharya, Fromentin, Philippe Gauby and Maïtreyee Mahatma. Maïtreyee brings Kathak dance to life as much in its tradition as in its contemporaneity through its cross-projects. Meeting of Kathak with Flamenco “When silence screams”, a daring representation on women; “l’Eveil” a creation with Filibert Tologo, Afro-contemporary dance; and “Chrysalide” a collaboration with Belgian singer Reynald Halloy. She currently lives in Marseille where she teaches Kathak dance and participates fully in regional cultural life.