"Prayog 4," uses technology, classical dance, movement, martial arts, poetry and storytelling to weave a choreography that dips into Indian philosophies and their relevance to present times.
The production is scheduled to be presented at April 4.

 "Our journeys are inspired by our Indian roots and cultural heritage - myths, folklore, literature and painting, among others," says Mayuri Upadhya, artistic director, Nirtarutya.
Mayuri points out that training in different movement disciplines – classical dance, martial arts, yoga and folk dance “nourishes our artha and gives it its unique rasa."
Through its format of short, powerful pieces, the choreography offers dancers a forum for experimentation, pushing the boundaries of their bodies as dancers and of the art as a discipline.
'Matsyaangnaa', 'Trishanku' and 'Chakra' are the three dance presentations set to be featured.
While the first two productions incorporate bharatanatyam movements in their execution, the last 'Chakra' incorporates bharatanatyam, kathak and folk movements.
Over 50 accomplished artistes - musicians, designers, dancers, visual artists, singers, and actors are participating in the production with the dancers having trained for over a year in bharatanatyam, abhinaya, carnatic rhythm, kutthuvarise (a martial art form from Tamilnadu), yoga and body conditioning.
For 'Matsyaangnaa' choreographer Madhuri Upadhya, says she chose mystical mermaids to depict the indulgence of six enemies which prevent a human from attaining Moksha.
Featuring four women performers, this piece has music by Praveen D Rao and costumes by James Pereira.
The concept is from the Vedic philosophy of 'Arishadvarga' - the six emotions of desire and passion - kama (lust), krodha (anger), lobha (greed), moha (attachment), mada or ahankara (pride) and matsarya (jealousy) and her interpretation of life.
The highlight of Matsyaangnaa will be the usage of a rigid prop to bring out fluidity of movements (a quality contrasting to the prop).
"The idea of everything around us being an illusion has been a line of thought for most of my choreographies. Where does reality end and fantasy begin, what is the thin line dissolving the two? I don't know," says Madhuri.

Madhuri has also choreographed 'Trishanku', the second piece for which she says she was inspired by by life and the present times where there is a feeling of not belonging anywhere.
The solo piece features music by Raghu Dixit and costumes by Sonali Sattar and Hiamnshu Dimri.
The piece seeks to explore two different time zones through a classical section designed by Guru Kiran Subramanyam and the modern times through contemporary dance.
The dancer is restricted to a circular space on stage with a restless energy. Usage of aerial silk cloth and specialized lighting will be used to give meaning to the expressions of hell, heaven, the world in-between and the experiences hidden within them and the feeling of belonging nowhere.
'Chakra' depicts the finale of the production, which has been choreographed by Sathya B G.
Sathya says he works with belief system of "what goes around comes around" and makes use of the 'circle' as a shape to interpret his movements.
He uses live music and a basketball prop makes for an interesting combination tracing the evolution of the dance grammar.
"It's the cyclic nature of life and nature that amazes me", says Sathya about his choreography.
Nritarutya has performed in nine countries and has travelled to major international festivals.


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