Prior to the age of Vedantam Satyanarayana Sarma’s career, Bhama Kalapam used to be performed for over the course of 3 nights for several hours at a stretch. The first night was dedicated to benedictory verses, the sutradhara’s entrance on to the stage and the description of Satyabhama’s braid. The second night featured Satyabhama’s entrance on stage (hidden for large parts behind a curtain), her conversations with Madhavi, her agony of separation from her husband, and her writing of the letter to Krishna. The third night featured Krishna’s entrance, the lover’s quarrel that ensued and the subsequent reconciliation.
(‘The last great female impersonator’ by Harshita Mruthinti Kamath, Nartanam, Oct – Dec 2012)

In the Tamil film Dayalan (1941), there were quite a few dance sequences performed by the noted dancer and well-known choreographer of the day Kulkarni, his team and dancers such as Rohini Dhanam and Usha Bala. Before Vazhuvoor B Ramaiah Pillai began to dominate the choreography space of Tamil cinema, Kulkarni was active and in demand both in Tamil and Telugu cinema.
(‘Blast from the past’ by Randor Guy, The Hindu, April 13, 2014)

Abhinava Gupta's father Narasimha Gupta was Abhinava Gupta’s first teacher, instructing him in grammar, logic and literature. Abhinava Gupta's most important work on the philosophy of art is Abhinavabharati, a long and complex commentary on Natya Shastra of Bharata Muni. His most important contribution was that to the theory of rasa (aesthetic savor). Other poetical works include: Ghaṭa-karpara-kulaka-vivrti, a commentary on ‘Ghatakarpara’ of Kalidasa;  Kavyakautukavivarana, a ‘Commentary to the wonder of poetry’ (a work of Bhatta Tauta), now lost; and Dhvanyalokalocana, ‘Illustration of Dhvanyaloka’ which is a famous work of Anandavardhana.

Snippets - Monthwise listing