Thematic and Abstract Style

(1996) Shiva: An abstract choreography piece choreographed in the Kathak dance style demonstrating the entire cycle of creation, sustenance, annihilation & creation once again.(Kathak & Bharata Natyam)

(1996) Atmasangharsha: Buddha the enlightened One, realized that man is his own worst enemy when his mind is out of control; and the only way to attain enlightenment would be then conflict with oneself. The production is choreographed using the Kathak dance style.(Kathak & Bharata Natyam)

(1996) Paanchmahabhutas: The five elements –air, water, sky, fire & earth are the ones that maintain a balance within the universe. Each has its own existence and yet together they all complement each other to form a part of the whole. These elements are explored through Kathak. (Kathak & Bharata Natyam)

(2008) PAKHAWAJ DHAROHAR –This is a unique research-oriented production which delves around Pakhawaj and its relation with Kathak . This production brings forth many ancient rhythmic compositions of the Pakhawaj which were specially created for Kathak. This piece seeks to observe and explore the tonal vastness of the Pakhawaj and form a new, unique body language ; staying within the traditional framework of Kathak.

Ranga Nritya

Ranga-nritya is the new genre of theatre dance, which has emerged after collaborative efforts of Rajashree Shirke and Theatre- Director Chetan Datar, This form of total theatre is a symbiosis of body language, speech and music. A number of productions have materialized in the Ranga Nritya genre, which have received an overwhelming response from diverse audiences.

(1999) Shyam Sakhi – a play on the relationship of Draupadi and Krishna inspired by Pratibha Roy’s ‘Yagnaseni’. Rajashree Shirke did a lot of research on the character of Draupadi and her relationship with Krishna when she found evidences of a bond of friendship between the two characters, beyond the peripheries of physical attraction. Based on ‘Pratibha Roy’s’ “Yagyaseni” she penned SHYAM SAKHI a Hindi play that explores this latest relationship. A Ranga Nritya Production with a huge cast of 25, this play was praised for its dance choreography and heightened performances. The play was performed at major festivals in India and praised by veterans of theatre and dance alike.

It has won National critical acclaim for its powerful imagery and metaphorical language.

(2001) Sangeet Dwandwa: Penned by Chetan Datar was adapted into Hindi by Rajashree Shirke and then presented as a part of the Ranga Nritya Genre. The narrative is a retelling of the Amba Shikhandi story from the Mahabharata with the portrayal of Amba as an androgynous being rather than a typical heroine of the Mahabharata. Thus the play looked at characters of Mahabharata as a reflection of contemporary existences. The cast of this play was small and the style minimalist as opposed to the earlier grandeur of Shyam Sakhi.

(2002) Mata Hidimba: A two act play written by Chetan Datar, which was later adapted in Hindi by Rajashree Shirke is being performed to full houses all over the country. This play brings out the politics of war and the reality of single motherhood through the story of Hidimba and her son Ghatotkach who gets killed in the Mahabharata.

(2004) Haravlele Pratibimba: For the first time a modern Marathi play written by Mahesh Elkunchwar was presented through dance in such a way the dialogues were only used where the dance did not communicate the required meaning. The play has been heralded as an effective experiment.

(2006) Ravana Mandodari Samvaad–The Ravana Mandodari Samvaad is based on a dialogue between the two of them regarding Ravana’s decision to retain Sita and wage a war with Rama. Mandodari being a devotee of Rama is caught between her devotion to Rama and her love for Ravana. Mandodari being a devotee of Rama tries to persuade Ravana to sent back Sita and stop the war. She knows that it would result in Ravana’s death. She is caught between her devotion to Rama and her love for Ravana. When Mandodari learns that Sri Rama had arrived, she requests Ravana to change his decision of retaining Sita. This enrages Raavana. He mocks Mandodari by saying that how could she even ask someone like her husband Raavana to accept defeat ; the one who is an undefeatable warrior, and the mightiest in the entire universe !!?? A furious battle ensues and Raavana is killed in the end.

Festivals & Seminars Organized –

YATRA – A National festival of Theatre, Dance and Music celebrating International Dance Day (29th April) as declared by the U.N.E.S.C.O. – since 2003.

MADHURANG – A festival of Dance and Music for upcoming artists in memory of Late Guru Sushri Madhurita Sarang since 2007.

SOPAAN MAHOTSAV – A national festival of Theatre, Dance and Music since 2016.

LASYA CHHATROTSAV – A festival showcasing the talents of Lasya’s disciples.

Seminars on 

• “Choreography in Indian Classical Dance Styles”.
• “Sahitya Aur Kathak”.
• “Lok Rang Bhoomi of Maharashtra – yesterday, today, tomorrow”.
• “Guru Shishya Parampara – yesterday, today and tomorrow”.

Lasya’s Latest Productions

Hori Khela (2011) – “Hori Khela” is one of the poems from Tagore’s Bengali collection of poems entitled- “KAUTHA OR KAHINI”. This is a fictional work –a poetic story that bases itself in the background of an ancient remote kingdom of Rajasthan. It is a small village and the kingdom is called Kota. Its king is Raja Bhoonaag. He has a very beautiful and intelligent queen. This kingdom has limited resources and is always plagued by the foreign Mughal invaders and especially the Pathans.

This story speaks clearly of the importance, true nature and most importantly the intelligence and courage of the Indian woman; who is repeatedly, throughout time immemorial, being misguided, misused and misunderstood. Little does man know that her

beauty is not frivolous! Her ways are silent and diplomatic; only because they are born out of loyalty, selflessness and the benevolence of her loving nature.

She has the courage, confidence and love for her motherland that guides her way only to create ways of safeguarding their happiness and well-being.

“SANGEET KANHOPATRA” (2013)– This is a prodigious and miraculous story in the history of the ’Vaarkari Sampradaaye’ of Maharashtra – the story of Saint Poetess Kanhopatra ; a story that bewilders historical and spiritual enthusiasts till today.The story of Sant Kaanhopatra is one that has its distinctive niche carved in the history of the religious and spiritual revolution in India ; or in the immortal archives of the ‘Vaarkari Saampradaaye’. Among the female saints during that era were Sant JanaaBai, Sant MuktaBai, Sant BahinaBai, Sant VeenaBai and Sant Kaanhopatra. – THIS HAS A YOUTUBE VIDEO OF DD CHANNEL

KRISHNA PREM LEELA – (2020)

This is the story of eternal love – the love between Lord Krishna and the Gopika-s. Having settled in Dwarka, his newfound kingdom; one fine afternoon, Krishna feels uncontrollably lost in emotion and tears in the memories of the Gopika-s and his Gokula.

Uddhava, Krishna’s friend and look-alike sees this and is wonder-struck, thinking – “Could the Lord of all the three worlds, be lost in worldly illusion like this?”

Uddhava is a mind filled with Divine Knowledge. He confronts Krishna. Krishna helplessly confesses that he cannot forget the Gopika-s, his Gokula, their beautiful memories and he wonders how they are. Uddhava explains that what he is feeling is link DD channel – yt video

none other than ‘Maya’ or illusion, and that an incarnation like him shouldn’t burden himself with emotional attachment.

Krishna realizes that his friend Uddhava is absorbed in pride of his knowledge. He asks Uddhava to give this same message/teachings to the Gopika-s in Gokula, so that they too can be freed from worldly emotions as he has liberated Krishna. Uddhava excitedly agrees and immediately leaves for Gokula.

What dialogue ensues between the Gopika-s and Uddhava in the end proves the supremacy of Divine Love over Divine Knowledge. Uddhava, now a transformed being sings – “Main Brijwaasin Ki Balihari”!!!

Be part of our journey as we weave stories, evoke emotions, and make a meaningful impact through the art of dance. Join the Lasya Production Unit today!