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A behrupiya or bahrupiya is an impressionist in the
traditional performing arts of India, Pakistan, Nepal and Bangladesh.
Once popular and widespread, the art form is now in decline with most
practitioners living in poverty. It was once common for behrupiyas
to make a dramatic entrance at wedding or other festivities dressed as a
policeman, priest, or other figure and create a commotion. The social
norm surrounding these appearances was that the behrupiya usually
collected no money if detected as an impersonator. However, if he was
able to successfully convince his audience of his fake identity, he
would then reveal it and be awarded a baksheesh for having entertained
the group. Sometimes, behrupiyas are also simply called maskharas or bhands, who are the traditional actors, dancers, storytellers and entertainers. |
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Tandava has vigorous, brisk movements. Performed with
joy, the dance is called Ananda Tandava. Performed in a violent mood,
the dance is called Rudra Tandava. In the Hindu texts, at least seven
types of Tandava are found: Ananda Tandava, Tripura Tandava, Sandhya
Tandava, Samhara Tandava, Kali (Kalika) Tandava, Uma Tandava and Gauri
Tandava. However, some people believe that there are 16 types of
Tandava. (Manohar Laxman Varadpande) |
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While at the macro level many of the Natya Shastra
statements apply to almost all the arts traditions, at the micro level
there are significant differences. Kathakali practitioners came to know
of Natya Shastra theories for their histrionics when Pattikkamtodi
Ravunni Menon (1880-1948) at 27, the first trainer of Kerala
Kalamandalam, went to scholar Kotungallur Kunchunni Tampuran (1858-1926)
to learn the intricacies of the Natya Shastra from the perspective of
Kathakali’s natya. (‘Rigorous training regime’ by KK Gopalakrishnan, The Hindu, Jan 24, 2014) |
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