Bhakti literature draws a fine distinction between kam and prem. While the former arises from self-gratification, the latter signifies the soul’s journey beyond worldly desires, culminating in divine love through the dissolution of the Self. This delicate line between two kindred yet conflicting impulses is reflected in the story of Bilwamangala, the Vaishnava saint who challenged Krishna. The legend found a stirring new expression on stage through Bilwamangala, presented by the Debamitra Sengupta-led Mayur Lalit Dance Academy on the final day of the Kolkata Nritya Samaroh organised at Gyan Manch.
Scripted by Pandit Nrityananda Misra, the production reimagines the medieval tale with Sengupta fusing classical grammar with the emotional dynamism of theatre. It follows Bilwamangal (Sengupta), a Brahmin consumed by his infatuation for the courtesan, Chintamani (Ambika Roy), whom he chooses over his wife. So overpowering is his desire that he refuses to return home even after his father’s death, performing the rites only at Chintamani’s urging. Caught in a violent storm on his way back to her, he mistakes his dead wife’s floating corpse for a log of wood and clings to it to survive. Reproached by Chintamani for his misplaced devotion, Bilwamangal is transformed into a Krishna seeker, ultimately blinding himself to conquer lust.
Sengupta’s choreography, rooted in the codified language of Odissi, sculpts the emotional arc of this transformation with grace. The portrayal of Chintamani embodies womanhood’s complex agency. While the depiction of Bilwamangala surviving the waves on his wife’s corpse — an imagery of chilling poetic irony — is handled with subtlety, the moment where he pierces his eyes with a needle is steeped in theatricality. The transitions between scenes are seamless, urging the eyes
to be directed to multiple actions and choreography occurring simultaneously in separate areas of the stage.
The other memorable
performance that evening was a Kuchipudi recital by Atrayee Sengupta and her group which included an excerpt of the Tarangam that saw the dancer gracefully balance herself
on the rim of a brass plate, responding to the beats of the percussion.
