The history of Chandragupta Maurya offers the subtext to a new conceptual performance that marks the finale of the 2026 Nrityagurukul showcase tomorrow
Soumya Bose and Ankita Sengupta during a performance
Traditional Indian classical dance is a lot more than just movement. “Do not forget that Natya [dance] is a part of theatre in India,” explains Dr Swapnokalpa Dasgupta, head of dance programming, National Centre for Performing Arts (NCPA). The observation is particularly notable in the context of the seasonal final performances of the Nrityagurukul showcases tomorrow. Departing from myths and stories, Soumya Bose and Ankita Sengupta will take on a tale from the Maurya Empire.
(From left) Gautam Marathe, Eesha Pinglay, and Poorva Saraswat. Pics Courtesy/NCPA
“I am working on a dance drama for the first time. I have long observed my guru, Sujata Mohapatra, and how she would switch characters on stage so smoothly. I was always curious about what is needed to bring out that ease to play different characters at the same time,” admits Sengupta. The danseuse also has the challenge of portraying Chanakya, the legendary strategist and politician.
“In the first part, we play the narrator, the noto noti [actors; in Bengali], and then change into the Raj nartaki [court dancer], and then comes the section featuring Chanakya. It is a strong character to execute, particularly as a female dancer. Playing Chanakya is not just about the male characteristics, or the boldness, but also the pause [before action]; a calm and composed intellectual character who works to ensure that the present is stabilised,” Sengupta shares.
Swapnokalpa Dasgupta
While she takes on the role of the strategist, Bose is tasked with the regal Chandragupta. Having picked on the subject, Bose reveals that scriptwriting was primary, followed by the music. The dance choreography was the final part of the jigsaw, he shares. “Our guru [Mohapatra] composed the dance, and we were involved in the process. We contributed whatever we could,” Bose adds.
This adaptation of history to the traditional form of Odissi might seem modern, but is in keeping with this year’s programme of Nrityagurukul. For instance, the parallel performance by Vaibhav Arekar’s students — Eesha Pinglay, Gautam Marathe, and Poorva Saraswat — will feature explorations of Saint Jnaneshwar’s abhangas, among other abhinaya forms in the acharati. Dasgupta points out, “The programme has seen all the shishyas present new works. Even the traditional ones have been restructured like the show by Ratikant Mohapatra’s shishyas in February. Tradition is often dynamic. What is new today will be a part of tradition tomorrow.”
ON March 5; 6.30 pm onwards
AT Experimental Theatre, NCPA, Nariman Point.
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