Welcome to Insieme Arti-Journal for Performing Arts

Insieme Arti-Journal for Performing Arts emerges from the culturally vibrant city of Mysore, the illustrious Cultural Capital of Karnataka, where centuries-old artistic traditions continue to flourish amidst royal palaces and temple courtyards. Founded in 2024, this distinguished journal stands as a beacon for the performing arts community, creating a dynamic confluence where ancient wisdom meets contemporary innovation.

Rooted in the rich tapestry of Indian classical traditions yet embracing global artistic expressions, the journal serves as an intimate stage where diverse forms of creative expression find their voice. From the intricate footwork of classical dance that echoes through heritage halls, to the melodic ragas that have resonated for generations, from experimental theatre that challenges conventional boundaries to cinema that captures the human experience in motion—every facet of the performing arts finds scholarly exploration within these pages.

Our mission transcends mere academic publication; we endeavor to weave together the threads of rigorous research with the passionate voices of practitioners who breathe life into their art forms. The journal celebrates the symbiotic relationship between theory and practice, inviting contributions that illuminate the profound cultural, social, and aesthetic dimensions of performance.

With an unwavering commitment to originality, inclusivity, and cross-cultural dialogue, Insieme Arti-Journal embraces perspectives from every corner of the artistic world. We seek to amplify voices that have long deserved recognition alongside established scholars, fostering a global conversation that honors both traditional mastery and bold innovation.

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Journal Title	Insieme Arti-Journal for Performing Arts	Subject Area	Performing Arts, Music, Dance, Theatre, Cinema	Are you a Performing Arts expert? Join our Review Panel Apply Now
Abbreviation	Ins Art	Frequency	Quarterly
DOI	Prefix: 10.63984	Online ISSN	ISSN: 3048-9849 (Online)
Print ISSN		Editor-in-Chief	Vid. Pushpa V Shankar
Publisher	Laasya Media	Managing Editor	Vid. Sneha V
Language of Publication	English \| Hindi \| Kannada \| Tamil	Indexing Database	Google Scholar, Crossref

Recent Publications: Grouped by Volume / Issue / Pub Type

Articles

Volume 3, Issue 2 April - June 2026

Volume: 3 | Issue: 2 | Pub Type: Regular | Published on: 30-Jun-2026

This issue delves into the diverse world of classical and folk performing arts, exploring their historical roots, structural frameworks, and cultural significance across traditions. The articles examine the evolution of these art forms, their defining techniques, key practitioners, and the role they play in preserving cultural heritage. From classical music and dance to regional folk traditions, the content offers readers a well-rounded appreciation of the richness and depth that performing arts bring to human expression and cultural identity.

An Analysis of Traditional Instruments and Folk dance in Kenya

Mrs Vanama Sushma

Volume: 3, Issue: 2, Type: Regular | Views: 2 | Downloads: 0

THE ARCHITECTURAL AND LYRICAL NUANCES OF APŪRVA RĀGĀS BY PAṬNAM SUBRAMAṆYA IYER

Ms Sampoorna Rajyalakshmi Yayavaram

Volume: 3, Issue: 2, Type: Regular | Views: 11 | Downloads: 0

Laws for Musicians in Ancient India

Dr Keshavchaitanya Jagannath Kunte

Volume: 3, Issue: 2, Type: Regular | Views: 0 | Downloads: 0

भारतीय संगीत की रिकॉर्डिंग में संपादन (Editing) का महत्व

Mr ARPIT SHARMA

Volume: 3, Issue: 2, Type: Regular | Views: 0 | Downloads: 0

The Bifurcated Minor: A Comparative Analysis of Kīravāṇi in Carnatic and Kirwani in Hindustani Musical Traditions

Ms Bhavana U

Volume: 3, Issue: 2, Type: Regular | Views: 1 | Downloads: 0

Folk music influence seen in the Gēyanāṭaka “Nowka Charitramu” of Saint Tyāgarāja

Dr Amrutha Varshini HG

Volume: 3, Issue: 2, Type: Regular | Views: 0 | Downloads: 0

சங்கீத மும்மூர்த்திகளின் கீர்த்தனைகளில் தாளங்கள்

Mrs Shyamala Rangarajan

Volume: 3, Issue: 2, Type: Regular | Views: 0 | Downloads: 0

Reimagining the Uttarāṇgam: Rhythmic and Melodic Innovations in the Varṇa-s of Dr. M. Balamuralikrishna

Mrs Prasanna VSL Namatheerdhala

Volume: 3, Issue: 2, Type: Regular | Views: 5 | Downloads: 0

SACRED STEPS UNDER COLONIAL SHADOWS

Miss S SHEVAANI S

Volume: 3, Issue: 2, Type: Regular | Views: 2 | Downloads: 0

The Madhyama Locus: Tonal Gravity, Structural Architecture, and Rasa Evolution in Ragas Keeravani and SimhendraMadhyama

Ms Bhavana U, Dr. Ruchira Kedar

Volume: 3, Issue: 2, Type: Regular | Views: 1 | Downloads: 0

Sounding the Sacred Earth: Indian Classical Music in the Age of the Anthropocene

Dr Lakshmi Surya Teja Bhavaraju

Volume: 3, Issue: 2, Type: Regular | Views: 1 | Downloads: 0

Volume 3 : Issue 1

Volume: 3 | Issue: 1 | Pub Type: Regular | Published on: 31-Mar-2026

This issue brings together a rich and diverse body of scholarship that traverses the theoretical, linguistic, aesthetic, and performative dimensions of Indian classical arts. From the intricacies of rāga grammar and svara analysis to the expressive architectures of Carnatic composition, the contributions illuminate the depth and dynamism of India's musical heritage alongside classical dance forms such as Sattriya Nritya and Kathak, which are examined as sites of identity, memory, and embodiment. Bridging tradition and contemporaneity, the issue also situates the evolution of rāga within the framework of Indian Knowledge Systems and its resonances with global sustainability goals, affirming the enduring relevance of classical Indian arts as living traditions that continue to negotiate meaning across time, culture, and practice.

Dynamics Aesthetics: The Co-existence of Dual Rasa in a Single Composition

Ms Yellai Samyuktha Lahari Bala, Dr. Vyzarsu Balasubramanyam

Volume: 3, Issue: 1, Type: Regular | Views: 185 | Downloads: 0

The Beauty of Manipravaalam : Linguistic Fusion in Carnatic Music Compositions

Ms NITHYASHREE B, Dr. Vyzarsu Balasubrahmanyam

Volume: 3, Issue: 1, Type: Regular | Views: 174 | Downloads: 0

Sounding the Body: The Relationship between Rhythm, Memory, and Movement in Kathak

Dr Tripti Gupta

Volume: 3, Issue: 1, Type: Regular | Views: 163 | Downloads: 0

Musical Compositions of MS Balasubrahmanya sharma

Mrs A.MruduRavali Darbha, Dr.K.Saraswathi Vasudev

Volume: 3, Issue: 1, Type: Regular | Views: 207 | Downloads: 0

From Nāda to Melakarta: The Evolution of Rāga in Indian Knowledge Systems and its Relevance to the Sustainable Development Goals

Dr Ramya C R

Volume: 3, Issue: 1, Type: Regular | Views: 174 | Downloads: 0

Anya Svara-s in Varṇa-s: An Insight into Rāga Lakṣaṇa-s

Dr Karthik G

Volume: 3, Issue: 1, Type: Regular | Views: 272 | Downloads: 0

Navigating the Self, Body, and Identity through Sattriya Nritya: A Gendered Perspective

Ms Rishika Kalita

Volume: 3, Issue: 1, Type: Regular | Views: 188 | Downloads: 0

Latest Announcements

Call for the Articles - Edition -July-September 2026, Volume 3, Issue 3

Insieme Arti - Journal for Performing Arts invites researchers, scholars, and practitioners to submit original, high-quality papers for Volume 3, Issue 3 (July-September 2026). This is an excellent opportunity to showcase your work and contribute to the advancement of Performing Arts. Publish with us for global reach, rigorous peer review, and diverse topic acceptance. Submission Deadline: August 31, 2026. Publication Date: September 30, 2026. Guidelines: Visit https://insiemearti.com/submissionguide.aspx for detailed submission guidelines

21-Jan-2026

RECENTLY ACCEPTED ARTICLES

An Analysis of Traditional Instruments and Folk dance in Kenya
Folk Dance tradition has been an integral for of Kenyan cultural. Many of the traditional dance forms of Kenya are still intact. The fact that their ethnic diversity has a wide variation, the Traditional instruments plays a significant role as a cultural expression in their folk-dance tradition. This research analysis the different traditional instruments in Kenya and to understand how tey represent the respective culture of different tribes of Kenya. The study aims to understand if these instruments had any symbolic meanings that were used as a way of communicating the culture, beliefs, social roles among the various ethnic groups of Kenya. The Qualitative research methods such as literature review, observations, visual analysis, are used in the research work . The main results obtained through the research include , the different types of traditional instruments used by the Kenyans, and how these are connected to the folk dance culture of Kenya. The study concludes that the traditional instruments of Kenya and their link to the Kenyan folk-dance traditions. The research further demonstrates that traditional instruments are not merely musical tools but also powerful symbols of cultural identity and historical continuity. Their continued use in folk dance performances reflects the resilience of Kenyan traditions and their importance in maintaining the cultural heritage of diverse communities.
Authors: Mrs Vanama Sushma	Arts Type: Folk Dance / Folk Dance / Kenya
View Article	Submitted on: 17-Jun-2026

THE ARCHITECTURAL AND LYRICAL NUANCES OF APŪRVA RĀGĀS BY PAṬNAM SUBRAMAṆYA IYER
Many rāgas in today's carnatic fraternity survive solely through the compositions composed in those rāgas. There are many rāgas in which there are less than ten compositions and sometimes less than five too. Such rāgas exist through those compositions only. These compositions also act as a blue-print for exploring, expanding and elaborating such rāgas. The legendary 19th century composer Paṭnam Subramanya Iyer has turned as rare, undocumented and eka-kṛti (single composition) rāgas into structured, enduring kṛtis. This paper examines the musicological contributions of Paṭnam Subramanya Iyer in preserving few of such apūrva (rare) rāgas through his compositions, specifically focusing on Simhavāhini, Sindhu Mandāri and his own melodic creation Kadanakutūhalam. Through a qualitative analysis of historical treatises, structural notation, and lyrical prosody, this study gives a clear approach on how Iyer masterfully intertwined complex musical frameworks. The research explores his innovative and strategic way of inserting certain vakra (tortuous) svara prayōgas and specific nyāsa svaras that define the lakṣaṇa (characteristics) of these rāgas. Furthermore, the paper investigates the lyrical dimensions of these kṛtis, highlighting how Iyer aligned the prāsa (rhyme) and yati (caesura) of his Telugu and Sanskrit lyrics with the rhythmic structure. Structural analysis of these compositions demonstrates how Iyer established a definitive pedagogical framework. This study underscores how a single kṛti can systematically codify and preserve an entire rāga, serving as a vital repository for contemporary performers, researchers, and musicologists.
Authors: Ms Sampoorna Rajyalakshmi Yayavaram	Arts Type: Carnatic Classical Music / Music / India
View Article	Submitted on: 11-Jun-2026

Laws for Musicians in Ancient India
This paper examines social laws governing performers and musicians in ancient India through texts such as Kautiliya Arthashastra, Samarangana Sutradhara, and Sutra texts, i.e. ancient Indian social law books such as Manu Smriti, Yājñavalkya Smriti, Nārada Smriti, Bṛhaspati Smriti, and Kātyāyana Smṛti. In this context, the paper comments on the social status of musicians in ancient India.
Authors: Dr Keshavchaitanya Jagannath Kunte	Arts Type: Hindustani Classical Music / Music / India
View Article	Submitted on: 10-Jun-2026

भारतीय संगीत की रिकॉर्डिंग में संपादन (Editing) का महत्व
भारतीय संगीत की रिकॉर्डिंग में एडिटिंग (Editing)एक महत्वपूर्ण और संवेदनशील प्रक्रिया है। पारंपरिक रूप से भारतीय संगीत अपनी सहजता और लाइव प्रस्तुति के लिए जाना जाता है। लेकिन आधुनिक रिकॉर्डिंग स्टूडियो में एडिटिंग तकनीक ने इसकी गुणवत्ता को एक नए स्तर पर पहुंचा दिया है। भारतीय संगीत पूरी तरह से राग(सुर) और ताल (लय) पर आधारित है। एडिटिंग टूल्स जैसे मेलोडी या ऑटो ट्यून की मदद से गायक या वादक की मामूली मानवीय अचूकों को ठीक किया जाता है। यदि कोई नोट थोड़ा सा भी अपस्वर (Out of Tune)हो जाता है तो एडिटिंग के जरिए उसे राग के सही सुर पर लाया जाता है। जिससे संगीत सुनने में बिल्कुल सटीक और मधुर लगता है।
Authors: Mr ARPIT SHARMA	Arts Type: Hindustani Classical Music / Music / India
View Article	Submitted on: 09-Jun-2026

The Bifurcated Minor: A Comparative Analysis of Kīravāṇi in Carnatic and Kirwani in Hindustani Musical Traditions
This research article presents a comparative musicological examination of Raga Kīravāṇi (21st Melakarta in the South Indian Carnatic system) and its North Indian counterpart, Raga Kirwani, in the Hindustani classical tradition. While both traditions share an identical structural scale equivalent to the Western Harmonic Minor (S - R2 - G2 - M1 - P - D1 - N3 - \dot{S}), their architectural execution, phrasing trajectories (sancharas / chalan), and microtonal ornamentations (gamakas / andolan) diverge fundamentally. This paper argues that Carnatic Kīravāṇi acts as an integrated, structurally rigid heptatonic scale anchored by heavy, oscillatory kampita gamakas on the Gandhara and Dhaivata, yielding an interiorized Karuna (pathos) and Bhakti (devotional) Rasa. Conversely, Hindustani Kirwani functions as a highly fluid, melody-driven framework where the Gandhara and Dhaivata are frequently rendered as stationary (achal) notes or gentle, linear glides (meend), invoking a more romantic, expressive, and cinematic aesthetic (Shringar Rasa). Through notation-based case studies of seminal compositions— specifically tracking the evolution from traditional South Indian kritis to North Indian gat frameworks— this study establishes a comprehensive framework for understanding how identical scalar materials are transformed by separate performance cultures.
Authors: Ms Bhavana U	Arts Type: Carnatic Classical Music / Music / India
View Article	Submitted on: 04-Jun-2026

Folk music influence seen in the Gēyanāṭaka “Nowka Charitramu” of Saint Tyāgarāja
The Gēyanāṭaka “Nowka Charitramu,” attributed to Sadguru Tyāgarāja, presents a unique lyrical narrative centered on a symbolic boat ride between Lord Kṛṣṇa and the Gōpi-s. Deviating from the traditional portrayal of Rasa Kreeda found in the Bhagavata Purana, this operatic work explores deep devotion (prapatti) and divine love. It draws inspiration from regional literary traditions, such as the Bengali Nowka Vilasa, to forge a distinct spiritual path toward salvation. While Tyāgarāja's parallel opera Prahlada Bhakti Vijayamu remains firmly rooted in classical traditions, “Nowka Charitramu” stands out for its intricate synthesis of classical and folk elements. Though structured within a limited palette of sixteen classical ragas and traditional talas, the folk influence remains highly visible. This study examines how Tyāgarāja juxtaposes chaste Telugu Padyas (poetic verses) with simpler, dramatic Daruvus (songs) featuring colloquial language and local dialects. This deliberate linguistic and melodic simplicity reflects the innocence of the rural women of Gokula. Ultimately, this research underscores how Tyāgarāja leverages accessible folk traditions and familiar cultural motifs to bridge high art and community resonance, effectively illuminating the profound spiritual connection between the Jeevatma and Paramatma.
Authors: Dr Amrutha Varshini HG	Arts Type: Carnatic Classical Music / Music / India
View Article	Submitted on: 03-Jun-2026

சங்கீத மும்மூர்த்திகளின் கீர்த்தனைகளில் தாளங்கள்
கர்நாடக இசை மரபில் "சங்கீத மும்மூர்த்திகள்" என்று போற்றப்படும் ஸ்ரீ தியாகராஜர், ஸ்ரீ சியாமா சாஸ்திரி மற்றும் ஸ்ரீ முத்துஸ்வாமி தீக்ஷிதர் ஆகியோர் இசை, இலக்கியம், பக்தி மற்றும் லய நுணுக்கங்களை ஒருங்கிணைத்து எண்ணற்ற கீர்த்தனைகளைப் படைத்துள்ளனர். இம்மூவரின் கீர்த்தனைகளில் தாளத்தின் அமைப்பும் பயன்பாடும் தனித்துவமான இடத்தைப் பெறுகின்றன. ஸ்ரீ தியாகராஜர் தமது கீர்த்தனைகளில் சர்வலகு நடை, பல்வேறு கிரகங்கள் (எடுப்புகள்), தேசாதி மற்றும் மத்யாதி தாள அமைப்புகளை திறம்படப் பயன்படுத்தியுள்ளார். சியாமா சாஸ்திரி மிஸ்ர சாப்பு, விலோம சாப்பு, த்விதாளக் கிருதிகள் மற்றும் சரபநந்தன தாளம் போன்ற அரிய லய வடிவங்களை கையாண்டு தமது தாளப் புலமையை வெளிப்படுத்தியுள்ளார். முத்துஸ்வாமி தீக்ஷிதர் சூளாதி சப்த தாளங்களை நவகிரகக் கீர்த்தனைகளில் பயன்படுத்தியதுடன், யதி அமைப்புகளையும் சிறப்பாகக் கையாண்டுள்ளார். இவ்வாய்வு, சங்கீத மும்மூர்த்திகளின் கீர்த்தனைகளில் காணப்படும் தாள அம்சங்களை பகுப்பாய்வு செய்து, அவர்களின் லயச் சிந்தனைகளின் தனித்துவத்தை எடுத்துரைக்கிறது.
Authors: Mrs Shyamala Rangarajan	Arts Type: Carnatic Classical Music / Music / India
View Article	Submitted on: 31-May-2026

Reimagining the Uttarāṇgam: Rhythmic and Melodic Innovations in the Varṇa-s of Dr. M. Balamuralikrishna
The varṇam occupies a significant position in Carnatic music as both a pedagogical composition and a concert item. A varṇam has two parts- the poorvangam- having pallavi, anupallavi and muktāyi swaram; and the uttarāṇgam- which consists of the charaṇam and the chittaswaras. While the uttarāṇgam section of traditional varṇa-s generally serves to reinforce rāga lakṣaṇa, laya control, and swara proficiency, the varṇa-s of Dr. M. Balamuralikrishna reveal a markedly different compositional approach. Through innovative handling of graha swaras, unconventional rhythmic structures, patterned chiṭṭaswara architecture, yati designs, and distinctive approaches to coming back to the graha swara (charaṇam), BMK expanded the expressive and structural possibilities of the uttarāṇgam. This paper examines selected varṇa-s composed by BMK and analyses the ways in which he transformed the second half of the varṇam from a predominantly pedagogical section into a creative compositional space. The study demonstrates that BMK's varṇa-s function not only as learning material but also as sophisticated musical constructions that embody experimentation within the framework of Carnatic tradition.
Authors: Mrs Prasanna VSL Namatheerdhala	Arts Type: Carnatic Classical Music / Music / India
View Article	Submitted on: 30-May-2026

SACRED STEPS UNDER COLONIAL SHADOWS
This paper explores the historical trajectory of Bharatanatyam, examining its transformation from a sacred temple ritual to a globally recognized classical dance form, with a particular focus on the disruptive impact of British colonialism. Originating over two millennia ago in Tamil Nadu, Bharatanatyam was historically sustained by devadasis (temple dancers) and rajadasis (court performers) who utilized intricate expressions (abhinaya) and hand gestures (mudras) to convey deep spiritual devotion and mythological narratives. These artists held high social standing, supported by royal patronage and codified artistic frameworks like the Margam format established by the Tanjore Quartette. However, the colonial era introduced severe setbacks through British legal interventions and the Anti-Nautch movement. Motivated by Victorian moral standards and religious biases, colonial authorities heavily stigmatized, marginalized, and ultimately banned the dance form. This systematically stripped traditional performers of their financial support, dignity, and socio-cultural identities, pushing the classical art form to the brink of extinction. In response to colonial suppression, the Indian independence movement catalyzed a wave of cultural nationalism. Post-independence, visionary reformers and institutional bodies orchestrated a major revival. They restructured Bharatanatyam by shifting it from the traditional guru-shishya system to formal institutional training, adapting it for modern theater stages. While this successfully preserved the dance, democratized education, and elevated its spiritual refinement, it also repositioned the art within elite social spaces, marginalizing the original hereditary communities. Ultimately, the evolution of Bharatanatyam, alongside the resilience of regional folk dances, underscores the enduring power of Indian heritage and its capacity for resistance and adaptation amid profound political and social shifts.
Authors: Miss S SHEVAANI S	Arts Type: Bharatanatyam / Classical Dance / India
View Article	Submitted on: 26-May-2026

ಕನ್ನಡ ರಂಗಭೂಮಿಯ ನವ್ಯೀಕರಣ ಮತ್ತು ಪ್ರಯೋಗಶೀಲತೆ
ಪೀಠಿಕೆ ಮತ್ತು ಹಿನ್ನೆಲೆ ಕನ್ನಡ ರಂಗಭೂಮಿಯ ಉಗಮ ಮತ್ತು ವಿಕಾಸದ ಹಾದಿಯು ಕೇವಲ ಮನರಂಜನೆಗೆ ಸೀಮಿತವಾಗಿರದೆ, ಆಯಾ ಕಾಲದ ಸಾಮಾಜಿಕ ಪಲ್ಲಟಗಳಿಗೆ ಸ್ಪಂದಿಸುತ್ತಾ ಬಂದಿರುವ ಒಂದು ಸಾಂಸ್ಕೃತಿಕ ದರ್ಶನವಾಗಿದೆ. ನಮ್ಮ ಮಣ್ಣಿನ ಆಚರಣೆ ಆಧಾರಿತ ಜನಪದ ರಂಗಭೂಮಿಯೇ ಯಕ್ಷಗಾನ, ಬಯಲಾಟ, ದೊಡ್ಡಾಟ, ಸಾಂಪ್ರದಾಯಿಕ ತೊಗಲುಗೊಂಬೆಯಾಟ ಇತ್ಯಾದಿ ಆಧುನಿಕ ಕನ್ನಡ ರಂಗಭೂಮಿಗೆ ಭದ್ರವಾದ ತಳಹದಿಯನ್ನು ಹಾಕಿಕೊಟ್ಟಿದೆ. 19ನೇ ಶತಮಾನದ ಅಂತ್ಯದಲ್ಲಿ ಬ್ರಿಟಿಷ್ ವಸಾಹತುಶಾಹಿ ಹಾಗೂ ಪಾರ್ಸಿ ರಂಗಭೂಮಿಯ ಪ್ರಭಾವದಿಂದ ವೃತ್ತಿ ರಂಗಭೂಮಿಯೂ, ತದನಂತರ ಪಾಶ್ಚಾತ್ಯ ನಾಟಕಗಳ ವಾಸ್ತವವಾದಿ ಚಿಂತನೆಯಿಂದ ಹವ್ಯಾಸಿ ರಂಗಭೂಮಿಯೂ ಮುನ್ನೆಲೆಗೆ ಬಂದವು. ಜಾಗತೀಕರಣ ಮತ್ತು ಕೈಗಾರಿಕೀಕರಣದ ಕಾರಣದಿಂದ ಮನುಷ್ಯನ ಅಸ್ತಿತ್ವದ ತಲ್ಲಣಗಳು ತೀವ್ರವಾದಾಗ, ವಾಸ್ತವವಾದಿ ಶೈಲಿಯ ಮಿತಿಗಳನ್ನು ಮೀರಿ ನಿಲ್ಲಲು ರಂಗಭೂಮಿಯು ತನ್ನ ಮೂಲ ಬೇರುಗಳಾದ ಜನಪದ ಕಲೆಗಳ ಕಡೆಗೆ ತಿರುಗಬೇಕಾಯಿತು. ನವ್ಯೀಕರಣ ಮತ್ತು ಪ್ರಯೋಗಶೀಲತೆಯ ಆಶಯ ರಂಗಭೂಮಿಯಲ್ಲಿ 'ನವ್ಯೀಕರಣ' ಎಂದರೆ ಕೇವಲ ಆಧುನಿಕ ತಾಂತ್ರಿಕ ಉಪಕರಣಗಳ ಅಳವಡಿಕೆಯಲ್ಲ; ಬದಲಿಗೆ ಸಾಂಪ್ರದಾಯಿಕ ಕಥಾವಸ್ತು ಹಾಗೂ ಪುರಾಣಗಳಿಗೆ ಸಮಕಾಲೀನ ರಾಜಕೀಯ ಮತ್ತು ಅಸ್ತಿತ್ವವಾದಿ ಬಿಕ್ಕಟ್ಟುಗಳ ಸ್ಪರ್ಶ ನೀಡುವುದಾಗಿದೆ. ಕನ್ನಡ ರಂಗಭೂಮಿಯ ಪ್ರಯೋಗಶೀಲತೆಯು ಪಾಶ್ಚಾತ್ಯ ರಂಗಭೂಮಿಯ ಬರ್ಟೋಲ್ಟ್ ಬ್ರೆಕ್ಟ್ ಮತ್ತು ಆಂಟೋನಿನ್ ಅರ್ಟೋ ಅವರ ಸಿದ್ಧಾಂತಗಳಿಂದ ಪ್ರೇರಿತವಾಗಿದ್ದರೂ, ಅದು ಪಡೆದುಕೊಂಡ ರೂಪ ಮಾತ್ರ ಸಂಪೂರ್ಣ ದೇಶೀಯವಾಗಿತ್ತು. ಸಾಂಪ್ರದಾಯಿಕ ಚೌಕಾಕಾರದ ಮಿತಿಗಳನ್ನು ಮುರಿದು ಮುಕ್ತ ರಂಗಸ್ಥಳದ ಸಾಧ್ಯತೆಗಳನ್ನು ತರುವುದು ಹಾಗೂ ಪ್ರೇಕ್ಷಕ ಮತ್ತು ನಟನ ನಡುವಿನ ಭೌತಿಕ ಅಂತರವನ್ನು ಕಡಿಮೆ ಮಾಡುವುದು ಇದರ ಮುಖ್ಯ ಉದ್ದೇಶವಾಗಿತ್ತು. ಪ್ರಮುಖ ರಂಗಕರ್ಮಿಗಳ ಕೊಡುಗೆಗಳು ಬಿ. ವಿ. ಕಾರಂತ ದೃಶ್ಯ ಮತ್ತು ಧ್ವನಿಯ ವಿಶಿಷ್ಟ ಸಮ್ಮಿಲನವನ್ನು ಪರಿಚಯಿಸಿದರು. ತಮ್ಮ ಪ್ರಯೋಗಗಳ ಮೂಲಕ ಪಠ್ಯ ಕೇಂದ್ರಿತ ನಾಟಕಗಳನ್ನು ಪ್ರದರ್ಶನ ಕೇಂದ್ರಿತ ರಂಗಭೂಮಿಯನ್ನಾಗಿ ಮಾರ್ಪಡಿಸಿದರು ಹಾಗೂ ಜನಪದ ಮದ್ದಳೆಯ ಲಯವನ್ನು ಪ್ರಧಾನ ಸಂವಹನ ಮಾಧ್ಯಮವಾಗಿ ಬಳಸಿಕೊಂಡರು. ಗಿರೀಶ್ ಕಾರ್ನಾಡ್ ಇತಿಹಾಸ ಮತ್ತು ಪುರಾಣಗಳ ಗರ್ಭದಿಂದ ಸಮಕಾಲೀನ ರಾಜಕೀಯ ಬಿಕ್ಕಟ್ಟುಗಳನ್ನು ಹೊರಗೆಳೆದರು. 'ಹಯವದನ' ನಾಟಕದಲ್ಲಿ ಯಕ್ಷಗಾನದ ಚೌಕಟ್ಟನ್ನು ಹಾಗೂ 'ತುಘಲಕ್' ನಾಟಕದಲ್ಲಿ ನೆಹರೂ ಯುಗದ ರಾಜಕೀಯ ಭ್ರಮನಿರಸನವನ್ನು ದೃಶ್ಯ ರೂಪಕಗಳ ಮೂಲಕ ಪ್ರಯೋಗಿಸಿದರು. ಡಾ. ಚಂದ್ರಶೇಖರ ಕಂಬಾರಶಿಷ್ಟ ಮತ್ತು ಜನಪದ ರಂಗಭೂಮಿಯ ನಡುವೆ ಪ್ರಾಯೋಗಿಕ ಸೇತುವೆ ನಿರ್ಮಿಸಿದರು. 'ಜೋಕುಮಾರಸ್ವಾಮಿ' ಮತ್ತು 'ಸಿರಿಸಂಪಿಗೆ' ನಾಟಕಗಳ ಮೂಲಕ ಮಣ್ಣಿನ ಸಂಸ್ಕೃತಿ ಮತ್ತು ಮಾನವನ ದ್ವಂದ್ವಗಳನ್ನು ಬಯಲಾಟ ಹಾಗೂ ಸಣ್ಣಾಟದ ಲಯದೊಂದಿಗೆ ರಂಗಕ್ಕೆ ತಂದರು. ಪಿ. ಲಂಕೇಶ್ ಮತ್ತು ಕೆ. ವಿ. ಸುಬ್ಬಣ್ಣ ರಂಗಭೂಮಿಗೆ ರಾಜಕೀಯ ಪ್ರಜ್ಞೆ ಹಾಗೂ ಸಾಮಾಜಿಕ ಬದ್ಧತೆಯನ್ನು ಒದಗಿಸಿದರು. ಸುಬ್ಬಣ್ಣನವರು 'ನೀನಾಸಂ' ಸಂಸ್ಥೆಯ ಮೂಲಕ ಜಾಗತಿಕ ಶ್ರೇಷ್ಠ ನಾಟಕಗಳನ್ನು ಗ್ರಾಮೀಣ ಜನಪದ ಶೈಲಿಯ ಲಯಕ್ಕೆ ಒಗ್ಗಿಸಿ ರಂಗಭೂಮಿಯ ವಿಕೇಂದ್ರೀಕರಣ ಮಾಡಿದರು. ಸಮಕಾಲೀನ ನಿರ್ದೇಶಕರು: ಶ್ರೀಪಾದ್ ಭಟ್, ಪ್ರಮೋದ್ ಶಿಗಾವ್ ಮತ್ತು ಸಿ. ಬಸವಲಿಂಗಯ್ಯ ಅವರು ಲಿಖಿತ ಪಠ್ಯವನ್ನು ದೃಶ್ಯ ಪಠ್ಯವನ್ನಾಗಿ ಪರಿವರ್ತಿಸುವಲ್ಲಿ ನಿರಂತರ ಪ್ರಯೋಗಗಳನ್ನು ಮಾಡುತ್ತಿದ್ದಾರೆ. ಆಹರ್ಯ ಮತ್ತು ಆಂಗಿಕ ಅಭಿನಯದ ಸೂಕ್ಷ್ಮತೆಗಳು ಆಧುನಿಕ ಪ್ರಯೋಗಗಳ ಯಶಸ್ಸಿನ ಮೂಲ ಶಕ್ತಿ ಇರುವುದು ಜನಪದ ಕಲೆಗಳ 'ಆಹರ್ಯ' (ವೇಷಭೂಷಣ, ಮುಖವರ್ಣಿಕೆ) ಮತ್ತು 'ಆಂಗಿಕ' (ದೇಹ ಭಾಷೆ) ಅಭಿನಯದ ಸೂಕ್ಷ್ಮತೆಗಳಲ್ಲಿ ಅಡಗಿದೆ. ಸಾಂಪ್ರದಾಯಿಕ ಮುಖವರ್ಣಿಕೆಯ ಬಣ್ಣಗಳನ್ನು (ಹಸಿರು, ಕೆಂಪು, ಕಪ್ಪು) ಇಂದಿನ ನಾಟಕಗಳಲ್ಲಿ ಪಾತ್ರಗಳ ಆಂತರಿಕ ಮಾನಸಿಕ ಸಂಘರ್ಷವನ್ನು ಬಿಂಬಿಸಲು ಬಳಸಲಾಗುತ್ತಿದೆ. ಹಾಗೆಯೇ, ಸುದೀರ್ಘ ಸಂಭಾಷಣೆಗಳ ಬದಲಿಗೆ ಯಕ್ಷಗಾನದ ಚಂಡೆ-ಮದ್ದಳೆಯ ಲಯಕ್ಕೆ ತಕ್ಕಂತೆ ನಟನ ದೇಹವನ್ನೇ ಒಂದು ಸಜೀವ ರೂಪಕವನ್ನಾಗಿ ಬಳಸಲಾಗುತ್ತಿದೆ. ಲೇಖನದಲ್ಲಿ 'ಉಷಾಹರಣ', 'ಸದಾರಮೆ', 'ಮ್ಯಾಕ್ಬೆತ್' ಹಾಗೂ ತೇಜಸ್ವಿಯವರ 'ಜುಗಾರಿ ಕ್ರಾಸ್' ಕಾದಂಬರಿಯ ರಂಗರೂಪಗಳನ್ನು ವಿಶಿಷ್ಟ ರಂಗಪ್ರಯೋಗಗಳಾಗಿ ಆಳವಾಗಿ ವಿಶ್ಲೇಷಿಸಲಾಗಿದೆ. ಪ್ರಸ್ತುತ ಸವಾಲುಗಳು ಮತ್ತು ನಿರ್ಣಯ ಇಂದು ಪ್ರಯೋಗಶೀಲತೆಯ ಹೆಸರಿನಲ್ಲಿ ಜನಪದ ಕಲೆಗಳನ್ನು ಕೇವಲ ಬಾಹ್ಯ ಪ್ರದರ್ಶನ ಸರಕಾಗಿ ಬಳಸಲಾಗುತ್ತಿದೆ ಮತ್ತು ಅತಿಯಾದ ತಾಂತ್ರಿಕತೆಯು ಸಾಮಾನ್ಯ ಪ್ರೇಕ್ಷಕನನ್ನು ರಂಗಭೂಮಿಯಿಂದ ದೂರವಿಡುತ್ತಿದೆ ಎಂಬ ಗಂಭೀರ ಸವಾಲುಗಳಿವೆ. ಕನ್ನಡ ರಂಗಭೂಮಿಯ ಭವಿಷ್ಯವು ಅದರ ಬೇರುಗಳಾದ ಜನಪದ ಕಲೆಗಳ ಸೂಕ್ಷ್ಮ ಗ್ರಹಿಕೆಯಲ್ಲಿ ಮತ್ತು ರೆಕ್ಕೆಗಳಾದ ಆಧುನಿಕ ಪ್ರಯೋಗಶೀಲತೆಯಲ್ಲಿದೆ. ಹೊಸ ತಲೆಮಾರಿನ ರಂಗಕರ್ಮಿಗಳು ಜನಪದದ ಮಣ್ಣಿನ ವಾಸನೆಯನ್ನು ಜಾಗತಿಕ ರಂಗಭಾಷೆಯೊಂದಿಗೆ ಮುಕ್ತವಾಗಿ ಮೇಳವಿಸಿದಾಗ ಮಾತ್ರ ಈ ಪ್ರಯೋಗಗಳು ಸಾರ್ಥಕತೆ ಪಡೆದು ಜಗತ್ತಿಗೆ ಮಾದರಿಯಾಗುತ್ತವೆ.
Authors: Mr Lava R	Arts Type: Experimental Theatre / Modern Performing Arts / India
View Article	Submitted on: 26-May-2026

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