A new stage is set

FROM OPEN pandals to a permanent stage. From a thatched roof hall to an aesthetically appealing auditorium. From 1954 to 2001... the Krishna Gana Sabha, now Dr. Nalli Gana Vihar has indeed traversed long to capture and present our classical arts in their various hues on a revered platform. And in this artistically elevating and creatively fulfilling journey, the rasikas and artistes steadfastly stood behind.

But there are miles to go, says Yagna Raman, who has nurtured the sabha from infancy to adulthood. He has been the secretary of the sabha since 1957.

It was only last December during the Margazhi festival, plans to renovate the sabha were announced. Four months later, what one witnesses is an unbelievable transformation, making it one-of-a- kind in the city.

"We had originally planned a simple renovation and set a two- month deadline. But as we were able to raise enough funds - a major portion came from art connoisseur, Nalli Kuppuswami Chettiar (sabha's president too), we decided to rope in experts to design the interior and exterior in such a way that they complement our artistic activities," enthuses Yagna Raman.

And that is what has happened. The new ambience is a beautiful mix of classical and modern elements of designing, just like the dance performances here. In fact, it's more the nritya rasikas, who throng the sabha to savour the unique presentations. Besides, the consistently enriching Natya Kala Conference held here during the December festival is one of the best forums to learn and know the performing arts and interact with artistes.

"We took care to ensure that the structural changes do not disturb this diligently built image of the sabha. Many people suggested that we should have air-conditioned the hall but that would have escalated our cost and we may have been forced to hike the rental charges. What is the use of having a well-equipped auditorium and limiting its purpose," he asks.

For architect C.R.Raju, it has been the most satisfying experience. The beautifully carved entrance to the hall, the majestic and spacious corridors on both sides, the intricately crafted sculptures, particularly the one of Lord Krishna in a quite corner near the entrance are inspired by Kalakshetra's Koothambalam. But it's the traditional pillars, specially made at Chettinadu, which hold the eye. "To get the old-world look, we used traditional materials like exposed bricks and Mangalore tiles," says Raju, who has judiciously used the available space, both artistically and functionally.

Inside the hall, the false ceiling throws a soft light. The old cane chairs have been retained as they fit into the ethnic scene and have been given a fresh coat of paint. The stage (work is still going on) has been made bright, colourful and broader. A lot of attention has also been given to the acoustics. The guidance of Nagpur-based S. Rajagopal, a well known sound engineer, who has done the acoustics for Mayajaal and Shanmukhananda Hall in Mumbai, was sought for an effective sound system. Besides, even the canteen, office, cassette and book shop, music and dance classrooms have all been done up to gel with the new ambience.

Apparently, rasikas will be counting days for the curtains to go up on the special feast of the Margazhi festival.

CHITRA SWAMINATHAN

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