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The court dance performed by Kumari Nutan Changoiwal and Kumari Sulochana Bachhawat had a captivating grace. The performance had the candour to project the warmth and abandon of a traditional Darbār or Sabha. Belonging to the event of coronation of the prince the roles of Kumari Sandhya Lunia and Kumari Manju Bachhawat as the maids of the palace also measured up to the requirements of the composition of the dramatic personae in the sequence.
Like Atimukta the enactment of the drama Nagila was also genuinely fascinating. The play was staged in the hall of Ahimsa Prachar Samiti, Calcutta, on 17th April, 1976. The story echoes a soul's yearning for the beautiful which ultimately leads to the transcendental beyond the world. It recounts the deep love and attachment between young Bhavadeva and his charming wife Nagila. A poet in heart as he was Bhavadeva found all his inspirations for the beauteous in the image of Nagila and could feel the hidden charms of the seen and the unseen world through fleeting moments in her company. The love of Nagila and Bhavadeva was radiant in the light of their yearning for the beautiful where it was seldom oblivious of the glory of eternity. The story has certain likeness with the story of the conversion of Nanda, the half-brother of the Buddha which has its place in the art of Gandhara. The life of Bhavadeva has a strange transformation since the day his house was visited by his elder brother Sramana Bhavadatta who took to the life of a recluse long ago. After a conversation, Bhavadatta got up and began to return to his monastery away from the village. Eager to show him a proper respect Bhavadeva accompanied him with his bowl. He wanted to bid him the last adieu. But Bhavadatta never asked for it and for the sake of his honour gentle Bhavadeva continued to walk with him through cornfields, groves and fragrant arbours as far as the distant monastery. On the way when he was
as if emerging from a Pahari masterpiece...
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