Welcome to the Gate Way of Indian Art Forms >>> KalaAnantarupah
We are pleased to announce that we are offering Bollywood dance class for kids, girls, working females, housewives, old age peoples and moms.
******Age No Bar****** Dance and enjoy.
Bollywood Dancing is one of the hottest dances around!It is the basis of every great Indian Bollywood Film. The dances are a fusion of traditional and classical Indian dances with the influence of some jazz, hip-hop and modern dance.Timing and Rhythm, energy, and sharp controlled expressive movements are the ingredients to becoming a Bollywood Dancer!
At the beginner level, it is a very simple dance style to learn. It is definitely the most fun way to get fit and have a laugh in the process
We start our dance classes with dance aerobics to give our students a good mobility, flexibility, sense of rhythm, power & of course a good shape... This Lively form of dance encourages movement of all parts of the body giving it a good workout! It's great fun, a great workout and a great way to relieve stress!
If you are looking to escape from reality into the dream world of Bollywood and learn to dance like the top stars of India, then this is the class for you!!
She is a dancer with a passion for theatre. Brought up in Chennai. RevathiThiyagarajaKumar learnt Bharatanatya. She started dancing at the age of 12 and is trained by Dr. Ambika Kameshawar. She has also worked with several theatre groups in Chennai.
Revathi was also actively involved in working with special children with her dance teacher. “What she does is so good. I soon plan to start something similar here in Bangalore.” Revathi came here eight years ago. “It was marriage that brought me here. Initially I started working as a HR in a MNC company. But somehow my heart was just not in it. So I quit the job and started my dance school – KalaAnantarupahDanceSchool.”
Located in R.T. Nagar she trains children from age four years and above. “Starting to dance again after marriage was not easy,” recalls this dancer. “But I feel good now that I have gone back to it. Bangalore is not new to me. I have frequented this city as a dancer for many performances.”
Revathi teaches Bharatanatya, folk and creative dance and contemporary dance. “The last is more semi classical and all the movements are rooted in our Indian dance forms,” explains this 25-year-old dancer who believes in a “holistic approach to dance and theatre. Dance helps an actor move gracefully, while theatre helps a dancer improve on the expressions.”
And Revathi encourages her students to excel in theatre and dance. She also trains aspiring actors in her school. “Right now the new actor Ruhi is being trained by me,” she says. “Being good in theatre and dance is a rare combination. I encourage my students to take to both,” she adds.
In theatre, she does not focus only on the acting, she also teaches voice modulations, breath control and mime.
To motivate her students Revathi says that she conducts a monthly exam and chooses one student as the star of the year. Revathi also works with people from corporate companies by choreographing dances for them and directing plays. “I am passionate about street plays. It is a challenge for me to create something right from the script, costume and make up.”
Revathi works with a limited number of students for “I can give complete attention to each one of them”. She can be contacted on 9886065752.
This column features those who choose to veer off the beaten track
SHILPA SEBASTIAN R. decides to try out a very different MIME class taught by a Bharatanatyam dancer Photo: Sampath Kumar G.P.
Express yourself Revathi’s mime leans towards classical abhinaya
Revathi Thiyagarajakumar, a trained Bharatanatyam dancer is also trained in theatre and takes classes in mime. And we had to try a session. “For mime I like to work one-on-one for it helps me to focus completely on the student.”
So we start. Her mime leans more towards classical abhinaya. Her class is usually a one-hour schedule, but we choose a 20-minute session where she helps me get through basic exercises that also “help a dancer and an actor improve expressions”.
First is the jaw exercise. You stand straight and breathe in really deep and then breathe out with force and then bend forward. You repeat the same side ways too. That is not all. You have to open your jaw out when you breathe out. Easy but the breathing has to be done in rhythm and with all your strength. Though it takes a bit of effort to co-ordinate so many movements at one count, it is really refreshing.
Next is the facial expression exercise, where she has a set of 10 exercises. “Aerobics is for the body but theatre and mime is for the mind. It helps you to be more lively and alert even in your daily life,” explains Revathi.
For lung power
Now it is time for me to balance on one leg and raise my hands in slow motion and recite “Om” and then hold the position for as long as possible.
After initial fumbling and toppling, Revathi is kind enough to permit me to stand on both my feet. “This one helps increase your lung power and also body control,” she says.
After a couple of minutes, it is time to stretch those thigh muscles. The very thought of it has made my legs ache. But Revathi is patient and determined to make this lazy body move. So we start. At the count of five we stretch our legs side ways and then sit down on one side really slow. Ouch! The thighs are screaming by now.
“Take the support of the ground to rise up again and don’t bend your knee when you sit or stand,” she instructs. And we do this a couple of times. Finally I give up and prefer to become a spectator and admire this dancer’s agility.
By now 20 minutes are up. “These are just the very basics. It takes four to five classes for the body to become flexible. But as you go on, you will stop feeling the pain and the muscles too will be toned to do these and more complex exercises,” explains Revathi. Revathi runs the dance and theatre school at her residence in R.T. Nagar. Call 9886065752 for details.
Students are introduced to the basic elements of modern dance techniques, combining exercises to relax, lengthen, align and strengthen the body to prepare for movement combinations through space. The curriculum is designed to build skills and understanding through the full range of technical elements while nurturing a vigorous, joyful and expressive approach to dancing. Students will also explore different choreographic principles fed by structured improvisations and creative projects
Contemporary Dance can be conceived as a new way of thinking about dance today, a form of expression through movement that processes memory, experience and imagination. The emphasis of contemporary dance is on:
Contemporary dance engages with daily concerns, issues and experiences and offers immense possibilities of integrating technology in dance. Many of the best contemporary dance performances are a spectacle of light, sound, digital arts and movement, unleashing creativity to its zenith. It goes beyond the narrative form of expression and becomes a total sensorial experience for the audience, a visual poetry of sorts.
Contemporary dance truly represents the globalised ethos of today, thriving on cultural exchange, breaking barriers of language, and yet projecting a sense of the unique culture of a region on to a world arena. Contemporary forms of expression grew in strength since the early part of the 20 Th century in Europe and the US and later spread to all parts of the world.
Internationally, contemporary dance is the fastest growing art form in countries like the UK. In India too, it is a niche form of expression that is finding an increasing number of patrons and audiences.
Theatre work Training, Acting Training , Voice Modulation Training, Mime Training,Street Play Training - KalaAnantarupah -98860 65752 / 080-23656381
TSD TEACHING SYLLABUS
KALAANANTARUPAH –THEATRE STUDIES AND DRAMA AIMS
This syllabus in Theatre Studies and Drama aims to
• develop students’ knowledge and understanding of, and critical thinking about, theatre and drama in a variety of historical and cultural settings
• stimulate creative exploration of ideas and the expression of these ideas through dramatic forms and theatre conventions
• foster enjoyment of theatre and drama and so develop the affective, cognitive and aesthetic domains of learning as well as personal and collaborative skills
KALAANANTARUPAH –THEATRE STUDIES AND DRAMA COURSE OBJECTIVES
By the end of the course, students should be able to
• understand play texts in relation to dramatic theory and historical context
• analyse and interpret texts from the viewpoint of theatre production
• analyse and record in a cogent and organised way the processes of practical work and evaluate the success of practical projects undertaken
• Plan, research and present individual and group projects
• develop practical skills related to the theory and practice of theatre arts including the visual, kinaesthetic and symbol systems of drama and theatre to communicate meaning
• integrate and synthesise skills, knowledge and processes into realising a performance or presentation
• Critically reflect on the production process and development of work
KALAANANTARUPAH – THEATRE STUDIES AND DRAMA CORE SKILLS AND LEARNING OUTCOMES
A course in KalaAnantarupah Theatre Studies & Drama should equip a Theatre Studies & Drama student with the following skills and learning outcomes:
• Analytical skills
- The ability to analyse a play text in relation to its social context and performance conditions
- The ability to examine a text for its thematic meaning, larger symbolic meaning and cultural significance
• Interpretive skills
- The ability to understand play texts in relation to dramatic theory, and historical and cultural backgrounds
- The ability to respond to and transform a dramatic text into performance
- The ability to perform a dramatic role or create a dramatic sequence in a particular way that conveys understanding of the playwright’s ideas and awareness of audience
• Evaluative skills
- The ability to analyse the different ways in which plays might be interpreted by different directors, designers, performers and audiences
- The ability to critically appreciate and assess the literary and dramatic qualities of plays and other performance scripts
• Writing skills
- The ability to produce a cogent and reasoned argument for a particular reading of the play text
-The ability to write creatively and critically for self-expression and to communicate meaning according to purpose, audience, context and culture
• Creative, devising and improvisation skills
- The ability to interpret and illuminate play scripts and other theatrical texts imaginatively
- The ability to explore and experiment with a variety of ideas and recognise rejection as part of the whole creative process
- The ability to solve practical problems of performance through a variety of approaches
- The ability to develop ideas generated during workshops into theatrical concepts
• Communication skills
- The ability to articulate and express ideas in a cogent and meaningful way
- The ability to use language, gestures, movement and emotion to convey meaning
- The ability to use or modify dramatic and theatre conventions to convey ideas
• Collaborative skills
- An awareness and understanding of the dynamics of working together
- The ability to make group decisions
- The ability to share ideas, and to give and accept criticism
• Performance skills
- The ability to use acting devices explored in the course
- The ability to improvise to create character, mood and sense of style
- The ability to use a variety of theatrical styles
- The ability to use the body and the voice as a means of communicating feelings of varying intensity
-The ability to use, explore and develop the acting methods inspired by theatre practitioners
• Problem-solving skills
- The ability to solve practical problems of performance through a variety of approaches
- The ability to negotiate and resolve conflict and disagreement during the creative process
• Design skills
- The ability to understand, interpret and translate a dramatic idea/vision into a design concept
- The ability to express a design concept through material and other tangible means (e.g. costume, set, sound, lighting, make-up)
• Directorial skills
- The ability to interpret a play text including its themes, characters, style, mood, structure and context
- The ability to identify various stages of development from rehearsal to performance
- The ability to use relevant technical or theoretical devices to enhance a presentation
• Research skills
- The ability to conduct library research into specific historical and social contexts of play texts
- The ability to acquire knowledge and skills in an experiential way from performers in a professional setting
KalaAnantarupah Dance School - Star of The Month September 2008
Our Address for Communication:- “KalaAnantarupah” Mrs.Revathi Thiyagarajakumar No 7/12,6th Main, Hanumanthappa Layout RT Nagar Post, Sultanpalya,Bangalore-560 032, Karnataka, India. Mobile - 98860 65752 mailto:kalaanantarupah@gmail.com
“KalaAnantarupah” Classes are conducted for the following:-
1. Bharatanatyam 2. Folk Dance 3. Contemporary Dance 4. Free Style Dance 5. Theatre workshop 6. Dance Therapy We also undertake the following: v Dance Consultancy v training for special children v Choreography for School/Corporate/private shows v we give SPECIAL TRAINING assisting you/your kids in performing for media programs
·For professional dancers (both Indian and Foreign) training is available in items comprising intricate, variegated and brisk jathis. the services are as follows.
One Thillana
One Javali
One Devaranama
One Ashtapadi
One Sloka or Choornike or alaripu
One Patriotic or Semi-Classical or National Integration or Environmental Thematic Item ( 5-7 minutes)
One hour ballet (mythological, historical or contemporary) classical or free styles including scripts, music, dance movements, costume designing, direction, recording, etc.
One hour ballet on the subject mentioned above - only dance choreography
·Theoretical aspects as enunciated in Abhinayadarpana will be taught with practical sessions. A month long intensive course will be conducted which will include practical training in various hand gestures, its usages, movements of head, neck, eyes and leg and its usage. This cost is $ 1000 for a maximum of 10 students.
·Natya shastra has four times as much theory as Abhinayadarpana. This is a three month intensive theory and practical training. Students can have training in this session either at one stretch of three months or in different modules over a period depending on their convenience.
·Solo Bharatanatyam performance will be given with studio-recorded music ranging from half an hour to two hours in various languages on different themes. The performer will be accompanied by a manager. Organisers must arrange transport, decent boarding and lodging, incidental charges during journey for the artiste and her managers (two persons). In addition to this, publicity for the programme, stage arrangements with a good deck to play music should be arranged
Our Address for Communication:- “KalaAnantarupah” Mrs.Revathi Thiyagarajakumar No 7/12,6th Main, Hanumanthappa Layout RT Nagar Post, Sultanpalya,Bangalore-560 032, Karnataka, India. Mobile - 98860 65752 mailto:kalaanantarupah@gmail.com
All are Cordially Invited - KalaAnantarupah Dance School, RTNagar, Bangalore Founder Mrs.Revathi Thiyagarajakumar and Disciple Miss.Mahalakshmi Kalaiyappan { 4 ½ Yrs Old } performing on 13April 2008 time 05 to 05.30pm VENUE Dayananda Sagar Memorial Hall, 264, Near Ahoka Pilar, 2nd Block, Jayanagar, Bangalore-560011
Dear
KALAANANTARUPAH DANCE SCHOOL, RT NAGAR, BANGALORE
FOUNDER-Mrs.Revathi Thiyagarajakumar & Disciple Miss.Mahalakshmi Kalaiyappan {4 ½ Yrs Old}
Performing on
Date > April 13th 2008 Time > 05.00 to 05.30 PM Venue: - DAYANANDA SAGAR MEMORIAL HALL, 264, Near Ahoka Pillar, 2nd Block, Jayanagar, Bangalore – 560 011.
Iam happy to invite you all for this performance.
Thanks in advance for your time and Presence.
Cheers........ Revathi Thiyagarajakumar Founder - KalaAnantarupah Dance School No 7/12,6th Main, Hanumanthappa Layout R.T.Post,Sultanpalya Bangalore - 560032 Karanataka India Mobile - +91-98860 65752 http://kalaanantarupahdanceschool.blogspot.com/
**** Your presence is desired 10 minutes before the time, for a fine Fellowship with friends.
KalaAnantarupah Dance School Founder/Director – Mrs.Revathi Thiyagarajakumar
Profile: Mrs. Revathi is a distinguished Bharata Natyam Dancer, Choreographer, Theatre Artist, Mime Artist, Corporate Dance Therapy specialist, Special Children trainer. She has undergone intensive training in Bharata Natyam, Folk Dance, Contemporary Dance, Free Style Dance and Creative Dance under Dr. Ambika Kameswar and several other reputed exponents of dance.
She has performed more than 500 stage shows across India including Bharata Natyam performance at Nepal representing Tamilnadu
With more than 17 years of Bharata Natyam Dance Experience she wants to make dance a medium to help special children use their limbs freely.
“KalaAnantarupah” Classes are conducted for the following:- 1. Bharatanatyam 2. Folk Dance 3. Contemporary Dance 4. Free Style Dance 5. Theatre workshop 6. Dance Therapy We also undertake the following: v Dance Consultancy v training for special children v Choreography for School/Corporate/private shows v we give SPECIAL TRAINING assisting you/your kids in performing for media programs
·For professional dancers (both Indian and Foreign) training is available in items comprising intricate, variegated and brisk jathis. the services are as follows.
One Thillana
One Javali
One Devaranama
One Ashtapadi
One Sloka or Choornike or alaripu
One Patriotic or Semi-Classical or National Integration or Environmental Thematic Item ( 5-7 minutes)
One hour ballet (mythological, historical or contemporary) classical or free styles including scripts, music, dance movements, costume designing, direction, recording, etc.
One hour ballet on the subject mentioned above - only dance choreography
·Abhinaya is the most difficult aspect of Bharathanatyam. Various methods will have to be learnt to attain proficiency in Abhinaya. They are taught as follows: The period ranges from 15 days to one month. In this two padams will be taught after preliminary exercises essential to Abhinaya.
·Navarasa, Asthapadi and so on will be taught consonant with mental make up of dancers.
·Classes will be taken pertaining factors which are essential to make dance a success. Other aspects regarding this will be fixed after discussion with the artistes.
Aspects regarding academic suggestions and theses will be fixed after discussion with the artistes.
·Theoretical aspects as enunciated in Abhinayadarpana will be taught with practical sessions. A month long intensive course will be conducted which will include practical training in various hand gestures, its usages, movements of head, neck, eyes and leg and its usage. This cost is $ 1000 for a maximum of 10 students.
·Natya shastra has four times as much theory as Abhinayadarpana. This is a three month intensive theory and practical training. Students can have training in this session either at one stretch of three months or in different modules over a period depending on their convenience.
·Solo Bharatanatyam performance will be given with studio-recorded music ranging from half an hour to two hours in various languages on different themes. The performer will be accompanied by a manager. Organisers must arrange transport, decent boarding and lodging, incidental charges during journey for the artiste and her managers (two persons). In addition to this, publicity for the programme, stage arrangements with a good deck to play music should be arranged
Our Address for Communication:- “KalaAnantarupah” Mrs.Revathi Thiyagarajakumar No 7/12,6th Main, Hanumanthappa Layout RT Nagar Post, Sultanpalya,Bangalore-560 032, Karnataka, India. Mobile - 98860 65752 mailto:kalaanantarupah@gmail.com
Mrs. Revathi Thiyagarajakumar is a distinguished Bharata Natyam,Folk,Contemporary,Bollywood,Kuchipudi,Mohiniyattam,Free Style Dance and Creative Dancer, Choreographer, Theatre Artist, Mime Artist, Corporate Dance Therapy specialist, Special Children trainer.
She has undergone intensive training in Bharata Natyam,Folk,Contemporary,Bollywood,Kuchipudi,Mohiniyattam Free Style Dance and Creative Dance under Dr. Ambika Kameswar and several other reputed exponents of dance.
KalaAnantarupah Children's Talent Festival { Nov 4th to Nov14th }
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