Mr.Vineeth Radhakrishnan and Ms. Lakshmi Gopalaswamy, the popular duo on stage, mesmerizes the audience with their graceful presence. Be it a pure classical or a semi-classical dance, the ambience they create is beyond words. Both are talented cine artists, hailing from Southn India, who occupied the minds of audience through the roles they portrayed in all the films they committed.
IIK: Tell us about the formation of this wonderful pair on stage.
Vin: We would say it is not a purposeful creation. We had opportunities to perform together pure ‘Bharathanatyam Kacheri’ and travelled a lot for the shows, first under the banner of ‘Soorya Festival’, which was followed by a number of film shows and the pair was gradually formed. Since we both are trained classical dancers, we have a serious approach to every performance, giving space for both of us.
Lak: And the primary thing is that, if we try to compete on stage, then we won’t be able to enjoy the performance and if we don’t enjoy then the audience is never going to enjoy our duo performances.
IIK: Do you think the new generation is not taking up classical dance seriously, especially those abroad?
Lak: One reason could be, they have not experienced the magic of pure art yet. May be they don’t get the opportunity to have an inspiring Guru or opportunity to watch great artists performing, as we have in India. The disciplined study of any classical art from an efficient Guru is not only providing you the knowledge, but it is a culture which improves our personality that gets imbibed. The exposure that these art forms give to a person has tremendous influence on him. If kids understand these positives of having a serious approach to classical arts, they will definitely stick on to it.
Vin: We can’t actually generalize that statement. Even today there are kids who take it up seriously and go to Chennai where you can find traditional senior Gurus. Stages give them an opening to this art form and later depending on each individual and his or her taste they move. But I would say our new generation is much more aware of our culture and art forms. The underlying factor is always the Guru and the exposure he/she gets.
IIK: Even with talented male dancers like Vineeth is there as an icon, why boys are not coming into the field of classical dance. From the youth festival stages, do you feel that they just vanish?
Vin: It is not that they just vanish from the youth festival stages. There are many mis-concepts prevailing on a boy taking up classical dance as his profession. The concept of getting effeminated, career opportunities, amount of income pouring in and many like factors affect the decision. All are not fortunate enough to have parents and circumstances to approach it seriously. Even then we have lots of boys who really pursue it with passion. There are many male faculties and performers from Kerala at Kalakshethra.
IIK: How do you think the youth festival stages are helping the upcoming dancers? Is it a shortcut to film industry?
Vin: We can’t say it is a shortcut. But for girls, ofcourse, youth festival stages are stepping stone to film industry. Seeing a girl performing on stage can help the directors to suggest that girl to have a screening. But for boys it is a firm ‘NO’ unless it is a pure dance oriented film. A stage gives them an exposure, but is not at all a supportive factor to be a ‘Hero’. I was casted even before I owned the ‘Kalaprathibha’ title.
IIK: How will you compare the fame that you get from film industry and as a dancer?
Lak: We can’t compare both fames. But we can use one for the other. To get fame and popularity, one hit is enough in film industry. The reach is high compared to stage performances and for the stage performers it may take even years of effort to be known as a good artist. It goes by the word of mouth. We both are lucky enough to have the acceptance as film artists by which we can draw the crowd. But your art has to speak for itself.
Vin: It is as important and to be kept in mind that the film fame will help you just to draw the crowd, not the acceptance as dancers. For that acceptance, the performance has to be professional and it should have the content. Even for a small rural temple crowd, if there is no stuff in it, after the one or two items, they will just walk away. I would say the fame as cine artist is an added advantage which can complement the life as classical dancers.
Lak: To add to it, being just excellent dancers we can’t expect this popularity. We have to perform for the love of doing it. You have to perform because you primarily enjoy it. When approached with passion, the fame, popularity and rest of all will follow. I was so passionate about dance and never thought of such a profession or planned for it and destiny has taken me to this position.
Vin: When we plan such things and the commercial element creeps into it, we will lose the purity of the art. Even when a ‘Guru’ transfers the knowledge to ‘Shishya’ with that attitude, the divinity is lost. When you are paid for your passion, then that is something great.
IIK: The word ‘Kacheri’ usually goes with music, tell us about the ‘Kacheri’ sampradayam in dance?
Lak: The Sanskrit word ‘Kacheri’ means a ‘Concert’ and usually we relate it to music only. It just means a performance within a framework.
Vin: A dance performance which follows the pure traditional norms and format is usually called a ‘Margam’ or ‘Kacheri’ in dance. They are formed by great master of past and we have to respect and keep that framework intact while doing a kacheri.
IIK: Is the classical art forms like dance ‘Static’?
Lak: All the dance forms are like languages for the dancer which gives them freedom to express whatever they aspire. Just as we have our languages as Kannada, Tamil or Malayalam and we bring in words from English in between and say this is innovation we can’t accept it. Similar is the case with classical art forms. It strictly follows the grammar and a format and is extremely expressive in itself. With this strong foundation all the classical arts has stood the test of time. Even with all the comments on classical art forms as static, not contemporary, fossilized etc, the fact remains that, if it was the case, then it would have faded out with time. It is the conviction and freshness that the dancer puts into it, gives life for that dance form. So if at all someone feels that the traditional forms are static or lifeless, it is the problem of the dancer who handles it and not the dance in its classic form.
IIK: How do you approach the innovations in a classical dance form, especially in costumes?
Vin: Innovations are always good and encouraging. But it has to be aesthetic and sticking to the norms. It has been there in all art forms always. Bharathanatyam was evolved in its present form in early 19th century and we can notice the changes in its various aspects. But that original aesthetic format is maintained. Of course with the traditional compositions done by such a divine person, we have to keep the discipline in which it is composed. We can’t just change it in the name of innovations.
Lak: The costume of a Bharathanatyam dancer if you see a forty years before or even two hundred years before, we can see that drastic changes have occurred and it should be like that. The society and the social conditions also influence the changes a lot and it is a very dynamic art form.
IIK: According to you is it dance complements acting or the other way round?
Vin: This is different for both male and female artists. The technique of acting is very much realistic and the technique of ‘abhinaya’ in dancing is totally different from that. When you are trained in classical dance there are chances for those aspects to get into your acting which can cut down the natural element. We have to take conscious effort to control that. Especially the grace element that a dancer achieves during his training can be disadvantageous for a male artist. At the same time this grace element itself plays a very positive role in the case of actress who is a trained classical dancer. The sense of timing and the grasping capacity during a song sequence is tremendous for a dancer.
Lak: They are at the same time similar and different. I consider myself primarily as a dancer who acts and not the other way. In front of the camera we have to be very honest and natural in every expression as the camera is capturing you in minute detail. This has helped me to bring that natural element in my dancing. On the other hand, definitely my dancing experience has helped me in bringing out the expressions before a camera. Being a dancer I am able to give any expression that a director demands. The problem is that sometimes the elements of dancing creeps in involuntarily and that can be corrected by a good director. Actually an efficient director can utilize a dancer very well in bringing out the finest expression that is demanded by a shot or a scene.
IIK: What you have to say on the social commitment of an artist?
Vin: We are into a media of entertainment. For sure we should have an agenda on social commitment while selecting the roles to an extent. Personally I won’t accept a role which gives a dreadful negative message to the society. Still certain roles which have a negative shade, but don’t present any negative messages to the society, that throws a challenge to us as an actor, I won’t mind doing it.
Lak: As a person or as a public figure when society is watching you, we have to be very much cautious in taking up a role. Role may be negative, but it should be presented in such a way that it gives a positive message to the society of the impact of such negative characters among us.
IIK: Thank you so much for the time you spent with us. It was a real pleasure talking with you. All the very best for your future ventures in the film world and as amazing performers on stage. Looking forward to see many more performances of this wonderful duo.