Behind the Stage: My Bharatanatyam Rituals
A performance is more than the final bow. This is a look at the quiet rituals, the focus of the green room, and the preparation that happens long before the curtains rise.
The process of getting ready is a ritual in itself. Here, I'm applying the final touches to the eye makeup, a key part of the Bharatanatyam look.
A quiet moment of reflection in the green room before a show.
A candid moment in the green room, with the character's makeup on, but the performer's thoughts within.
Another black and white shot of the makeup process. The mirror reflects the transformation from person to performer.
A quick selfie before the show in Australia. Capturing these moments is part of the journey.
A post-concert selfie from the green room in Goa. The feeling after a performance is a mix of exhaustion and exhilaration.
Another green room selfie after a performance in Goa.
A throwback to a performance in New York. The green room mirror has seen many faces and characters over the years.
A view from the stage in Calgary before the audience arrives. This is where the magic is planned and set up.
The view from the stage of an empty theatre in Europe. There's a unique feeling of anticipation in these quiet moments.
About The Journey: Behind the Stage
The stillness of the green room is where the actual work starts. It is just me, the mirror, and the process of applying the traditional makeup, a meditative ritual that helps me switch off from the travel chaos and tap into the character I am about to embody. Whether I am preparing in a quiet Bangalore studio or a bustling concert hall abroad, this hour of silence is the most important part of my performance.
People often see the polished result on stage, the precision of a Thillana or the intensity of a Varnam. But the reality is a whirlwind of logistics, sound checks, and that specific, grounding energy of the green room. I often spend the hour before the show entirely on my own, layering the traditional Aharya, which includes the costume and makeup. This helps me mentally transition from the stress of transit or setup to the stillness required for Abhinaya, the expressive part of the dance.
It is not a solo journey. You will often see me with my percussionists and fellow artists, the annas and jis who are the real backbone of these shows. We share stories, adjust microphones, and check lighting cues until the last minute. This connection is what makes the performance alive. Whether it is a solo recital or a group production with the Punyah Dance Company, that backstage bond directly translates to the energy we bring to the stage.
From the quiet of a temple in Chennai to the technical complexity of a concert hall in Canada, every venue demands a different kind of preparation. I usually arrive two hours early, not just to warm up, but to ensure the stage, sound, and lighting are exactly where they need to be for a seamless show.
Adithya
I am Adithya, a dancer constantly moving between studios and global stages. My art is about honesty and connection, whether I am performing a solo Margam or creating large-scale productions with my crew at Punyah Dance Company.
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