রবীন্দ্র নৃত্যনাট্যে অভিনবত্ব ও মৌলিকতা : নন্দনের নতুন ব্যাকরণ/ Innovation and Originality in Rabindranath Tagore's Dance-Dramas: A New Grammar of Aesthetics
DOI:
https://doi.org/10.5281/Keywords:
- Rabindranath Tagore,
- Nritya-natya,
- Chemical Assimilation,
- Cultural synthesis,
- Cultural Modernity,
- Modern Indian dance
Abstract
It is attempted to examine the major changes introduced by Rabindranath Tagore in Indian performing arts through his dance dramas (Nritya-natya). The study begins by tracing the history of Indian dance from the Vedic period and Bharata’s Natyashastra and explains how Tagore emerged as a modern thinker during the late colonial period. Tagore created a new style that combined expressive movement, poetry, and music in a natural and meaningful way, rather than relying on traditional rules, religious stories, and monotonous dance patterns. As regards ‘Rabindra-Nritya’, it is argued that it is not a separate dance form but an artistic philosophy based on freedom, creativity, and emotional expression. Despite not being a trained dancer, Tagore played the role of a creative director and encouraged emerging dancers to use the body as a medium of artistic freedom. A key feature of Tagore’s dance dramas was the blending of different dance traditions. In line with Pratima Devi’s idea of ‘chemical assimilation’, Tagore also combined elements of Manipuri, Kathakali, Bharatanatyam, and folk traditions such as Baul, Santhali, and Raibenshe. These styles were not presented separately but were smoothly merged to express the emotions and meanings of the songs. Tagore’s innovations in stage design and costumes are another aspect of the present study. Inspired by the simple open-air theatres of Java and Bali, he preferred minimal stage settings instead of elaborate Western-style scenery. Artist Nandalal Bose assisted Tagore in introducing simple, character-based costumes and natural floral decorations. Thus, it could be concluded that Tagore’s Nritya-natya became a powerful cultural creation in modern Indian dance. It reflected a dance tradition free from rigidity and made it more inclusive and expressive, establishing a creative performance style that remains relevant and appreciated across the world even today.
Downloads
References
১. বসু, অরুনকুমার, নৃত্যকল্প, সপ্তম বর্ষ, ডিসেম্বর ২০০৩, রবীন্দ্রনৃত্য প্রসঙ্গে, পৃ. ২১-২২
২. তদেব, পৃ. ২২
৩. চট্টোপাধ্যায়, অসিতকুমার, রবীন্দ্রনাথের নৃত্যনাট্য ও তার পরীক্ষা-নিরীক্ষা, পৃ. ৩৪
৪. ঘোষ, শান্তিদেব, নৃত্যকলা ও রবীন্দ্রনাথ, পৃ. ৬৫
৫. কুন্ডু, প্রণয়কুমার, রবীন্দ্রনাথের গীতিনাট্য ও নৃত্যনাট্য, পৃ. ২৮৭
৬. বসু, অরুনকুমার, নৃত্যকল্প, সপ্তম বর্ষ, ডিসেম্বর ২০০৩, রবীন্দ্রনৃত্য প্রসঙ্গে, পৃ. ৩৫-৩৬
Downloads
Published
Issue
Section
License

This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.

