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Uday Shan-Kar Und Simkie Mit Indischem Orchester Die Musik Für Die Tänze Ist Von Titnir Baran Bhattacharyya Arrangiert

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Uday Shan-Kar Und Simkie Mit Indischem Orchester Die Musik Für Die Tänze Ist Von Titnir Baran Bhattacharyya Arrangiert CINEMA CAPITOL BIEL Mittwoch den 27. Mai 1931, 20 Uhr 30 Indischer Tanzabend Uday Shan-Kar und Simkie mit indischem Orchester Die Musik für die Tänze ist von Titnir Baran Bhattacharyya arrangiert. Alle Tänze sind von Uday Shan-Kar. P R O O RAMM 1. Pahari Raga SÄ 9. Frühlingstanz....................simkie Annanda (Taus), Brijo (Esraj) 10. Hochzeitstanz........................Shan-Kar 2. Indra...................................... Shan-Kar 11. a) Vorführung des Maha-Mrdanga (Chautala) Vishnu Dass 3. Sinha Bhairavi. visimu Dass (Sitar) b) Vorführung des Khol . S"dhury 4. Bauerntanz............ Shan-Kar und Simkie (Volksrhythmen) Shan-Kar und Simkie 5. Lallt Raga.............Timir Baran (Sarode) 12. Säbeltanz.............. (Begleitung: Dhak, Dhol, Kai tali) 6. Tempeltanz................................. simkie 13. MalkoshRaga 7 ITnnhi Trifnl Timir Baran (Sarode) und /.i\Cipni 1 rllUL . vishnu Dass (Tabla Banya; 14. Gandharva...........................Shan-Kar Pause 8. Kelshna lind Radha Shan-Kar und Simkie 15. Tanava Nrittya &SÄPÄ PatlSe dra, joya, Kanak-Lata 1. Pahari Rag. Zeit: Nacht. Gefühl: Melancholie. 2. Indra. Nach der indischen Kosmogonie der Herr des Himmels, der Sterne, der Wol­ ken, der Blitze, des Donners und der grossen Regengüsse. Indra, der höchste Gott des Paradieses wird dargestellt, wie er die kleineren Gottheiten in die vol­ lendete Kunst des Tanzes einführt. Das Orchester begleitet ihn mit einem Joguia Bhairava, Rag des Morgens. Gefühl: dunkel, majestätisch, voll tiefer Hochachtung. 3. Sindha-Bhairavi. Rag für den späten Morgen, zwischen neun Uhr und Mittag. Gefühl: weibliche Hingabe. 4. Bauerntanz. Stellt das Säen und das Ernten des Kornes dar. Jede Provinz Indiens besitzt ihre eigenen Volksgesänge und Volkstänze: sie sind sehr einfach und naturnah und oft voll Humor. 5. Lallt Rag (Alap.). Klassisch für die Zeit der Morgendämmerung, zwischen drei und sechs Uhr. Gefühl: Zärtlichkeit und Trennung, mit Zurückhaltung und Würde ausgedrückt. Alap: volle melodische und rhythmische Entwicklung des Rag durch ein einzelnes Instrument. 6. Tempel tanz. Ein junges Mädchen im Tempel betet die Gottheit an und fleht um Erhörung ihrer Wünsche. Zeit: Mittag. Gefühl: zarte, religiöse Devotion. 7. Kaphi-Trital. Rag der Nacht. Gefühl: Exaltation und Freude der Leidenschaft. Trital: Rhythmus im Sechszehntakt. 8. Krishna und Radha. Der charakteristische Tanz Rasmandala (traditioneller Hirten­ tanz zum Gedächtnis Krishnas und Radhas). Krishna ist die achte Inkarnation Vishnus, der Menschengestalt angenommen hat, um die Schlechtigkeit der Welt zu bekämpfen. Die Einbildung des Volkes liebt es, sich seiner jugendlichen Liebes­ abenteuer bei den Hirten von Brindaban zu erinnern, bei welchen er sich als junger Gott, doch seiner Natur nicht bewusst, mit den hübschen Copinis (Schäfe­ rinnen) belustigte und alle mit dem Ton seiner Hirtenflöte bezauberte. Begleitung: Rag Ashvari. Zeit: Morgen. Gefühl: Sehnsucht. Rag Jungla: etwas wilder spie­ lerischer Ueberschwang. Rag Bhimpalasy: Befriedigung nach der Leidenschaft, ( wunschloser Zustand. 9. Frühlings tanz. Ein kleines Mädchen hat Blumen gesät, aber die Nachtigall ist ge­ kommen und hat die Samen aufgepickt. Sie eilt herbei, um den Vogel zu schelten und ihn aus dem Garten zu jagen. Zeit: Abend. Geist des Rags: Kindlicher Streit, kokettes Schmollen. 10. Hochzeitstanz. Ein junges Rajputmädchen am Vorabend ihrer Hochzeit. Ihre Gefühle der Angst vor dem Unbekannten weichen allmählich einer wachsenden Exaltation und dem Vorgefühl kommender Freuden. Begleitung: Rag Bhairavi. Gefühl: etwas verhaltene Freude. 11. a) Vorführung des Mahamrdrang. Trommel aus Holz, deren Erfindung die Puranas Brahmas zuschreiben, der diese Trommel Ganesh gab. um den Tanz Shivas zu begleiten. Chautal: Rhythmus im Zwölftakt, der gewöhnlich angewandt wird, um die klassischen Gesänge zu begleiten. b) Vorführung des Khol. Trommel aus gebrannter Erde oder aus Metall aus Ben­ galen: einige der Rhythmen, die angewandt werden, um die religiösen Gesänge des Sankirtan (Ruhm Gottes) zu begleiten. 12. Schwerttanz. Traditioneller Tanz aus Nordindien. Säbelspiele zur Zeit der Waffen­ weihe. Die Frauen zeichnen die Stirne der Männer mit dem roten Siegeszeichen. 13. Rag Malkosh. Komponiert aus fünf Noten der Tonleiter, da die zweite und die fünfte Stufe ausgelassen werden. Zeit. Nacht. Gefühl ernst und entschieden. 14. Gandharva. Nach der indischen Mythologie sind die Gandharvas die himmlischen Tänzer und Sänger am Hofe Indras. Begleitung: Rag Hemanta (komponiert von Alanddin Khan Sahib). Zeit: nach der Regenzeit, wenn die Vegetation aüfblüht. Gefühl: Freude, die beflügelt. 15. Tandava Nrittya (Shiva). Tanzdrama archaischen Charakters. Die Mudras (sym­ bolische Gesten) vertreten die Worte und drücken die Gefühle und Ideen aus. Thema des Tanzes: Shiva ist der Gott der Schöpfung und der Zerstörung. Sein Tanz erschafft und vernichtet die Welt. Sati, seine Frau ist aus Kummer gestor­ ben, weil ihr eigener Vater Shiva eine schwere Kränkung zugefügt. Shiva ver­ zieht sich auf das tiefste konsterniert in die Einsamkeit zurück, versinkt in Meditation und stellt alle Schöpfung ein. Sati hat sich jedoch aus tiefer Verehrung für Shiva reinkarniert in der Person von Parvati. Sie symbolisiert die Erde und wünscht die Schöpfung. Jeden Tag kommt sie anbetend zu Shiva und versucht, ihn aufzuwecken. Unterdessen ist die Erde durch Gajasur, den Elephantendämon, unsicher gemacht. Eines Tages begegnet er Parvati, und da sie jung und schön ist. will er sie entführen. Er prahlt vor ihr mit seiner Kraft und Grösse. Parvati stösst ihn erschrocken zurück. Doch Gajasur, gereizt, will sie mit Gewalt fort­ schleppen. Parvati stürzt zu den Füssen Shivas und fleht diesen um Hilfe an. Endlich wacht Shiva auf und fordert Gajasur heraus. Die Erde zittert und ein Kampf entbrennt, wobei die Gegner die Naturgewalten gegeneinander entfesseln. Sie schleudern sich Wasser, Feuer, Blitze, Schlangen entgegen. Zum Schluss nimmt Shiva die Keule, die ihm Vishnu gegeben, und es gelingt ihm, den Dämon zu zerschmettern. Er zieht ihm die Haut ab und tanzt im Triumph der Befreiung mit Parvati. Aber nachdem Shiva die Macht des Bösen besiegt, verfällt er wieder in Meditation, in Erinnerung an Sati. Parvati ist tiefbetrübt und nimmt die Buss­ übungen wieder auf, um die Gnade Shivas in den künftigen Zeiten zu erlangen. Die Orchesterbegleitung besteht aus den verschiedensten Trommeln, Pauken, Flöten, Zymbeln, Hörnern, Glocken, aus Tampuras, Kartali, Sarode, Gopi, Jantra, Gubgubi, Sankha, Ghanta Tarang, Glockenbogen usw..
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