“పార్టీ జరుగుతున్నప్పుడు మిస్టర్ స్టూవర్ట్ పేట్ రావుకు స్కాచ్ గ్లాసు అందిస్తున్నప్పుడు, డంకన్ హార్వీతో బాటు నేనూ అక్కడే ఆ పార్టీ జరిగే గదిలోనే ఉన్నాను!”
-నిజం! నేనూ అక్కడే ఉన్నాను! 🙂
మిగితా విషయాలను పరిశీలించే శక్తి లేదు కానీ, నాకు ఈ కథ ఈ ఒక్కకారణానికే నచ్చింది.
టాగూరు తన స్వంత గళముతో పాడిన బెంగాలి, ఆంగ్ల గీతాలను ఇక్కడ వినవచ్చును. అతడు పాడిన భారత దేశీయ గీతమైన జనగణమన అధినాయక జయహే పాటను ఇక్కడ విన వీలగును. విధేయుడు – మోహన
Namaskaram. I am amazed at the elaborate argument you have offered in validating the reigning trend in contemporary Telugu Cinema Pata. I do not know if the following few lines would fall compatible to the line of argument. I would like to share my reaction with you.
It seems Telugu people have not ensured the diverse genres of their music survive the vicissitudes of commercial popularism. Their patronage has now come down to have been truncated by Film Music. All genres of their music such as folk music, light music and ballet are epitomized in their Film music, which has never failed to keep consistency with the achievements and victories of Telugu Cinema.
The great heroes of Telugu cinema are strictly consistent in giving expression to their original talent. None of their great heroes of the Telugu screen has ever allowed a let up in each one’s consistent style, perfected over a long span of career by hard work and by continuously exercising raw TALENT.
None of the great heroes has ever succumbed to the fickle exigencies of a fictional character.The industry as a whole has the discretion to see through the meaningless flourishes fiction writers generally try to impose, passing as indispensable traits of a character, trying to sell as nuances. Neither are the great directors restrained in their art by the misconception as to the invisibility of the existence of a plausible protagonist in a cinematic work of art. All the Telugu speaking audiences have endorsed the conviction of the heroes and the directors in the competence attained in resisting the cliched superstitions of incorporating plausible characterization in the treatment of a story line. In spite of the bickering by mavericks such as Ko.Ku (Paatralu Kaavalenu), the whole industry resisted the lure of blindly imitating the Italians and the French.
Each of the great heroes of Telugu screen have applied very iota of talent with utmost perseverance and individual mettle for achieving a perfect mold, unique for one self. None of the heroes would deviate from the consummate personal style, unique to one self. And the art of Telugu Cinema produced its own constellation of competent critics, endowed with sharp vision, good taste and analytical originality. Yet this horde of visionaries has yet to come up with a single instance of a hero going astray from one’s own perfect mold. Every hero, in careers spanning over decades has excelled himself in portraying every character. No portrayal is marred by any devotion from the consummate pattern – either in diction or in vigorous gesticulation: the two indispensable elements that should enhance the vigour of the given character.
Likewise, progress in Telugu music is as conspicuous as is in Telugu Cinema. As the modern approach to Telugu Cinema rendered the music free of superstitions such as harmony, melody, balance and counter balance, our music directors have become tremendously egalitarian in that their craft has acquired maximum flexibility and they are consistent in setting tunes as adoptable as possible. Our male and female singers lately have immensely perfected the alien art of total flexibly to the extent that they can not be bowed down by the restrictions, inevitably intrinsic to a musical composition. Some classical ragas of the Carnatic system have been so innovatively rendered by our film singers, that the original kritis are to be considered redundant. Vanquishing the lame, gingerly approach and discarding every nuance are key components of success. Some film songs based on classical ragas immensely entertained the discerning Telugu patrons: are ubiquitous in existence, in that they celebrate the given situation and can stand as competent burlesque of the original.
Determined to liberate the music in Telugu films, some innovators have reached out to pan Indian , non Telugu singers. As they have already vanquished the limitations of tune as such, the possibility for further improvisation stands infinite.
But the quest for revolution for perfection is endless. The task for excellence remains unfulfilled. You are not victorious as a speech community, until your film music is freed from the tyranny of sense, still lingers in some rare instances.
With regards .
Yours thankfully,
Sidineni Bhavanarayana.
[we could not help but wish this comment is written in Telugu instead. – Eds.]
Thanks for your kind words! Yes, you are correct that “Manathan Maravillai” is the Tamil version of Telugu గుండమ్మ కథ. We shall try to share some more rare; esp. non-film/AIR numbers of A.M. Raja in near future on eemaaTa.
నల్లతోలు: కథ నచ్చిన కారణం గురించి Sowmya గారి అభిప్రాయం:
05/03/2011 10:10 am
ఇప్పుడే ఈ కథ చదివాను.
“పార్టీ జరుగుతున్నప్పుడు మిస్టర్ స్టూవర్ట్ పేట్ రావుకు స్కాచ్ గ్లాసు అందిస్తున్నప్పుడు, డంకన్ హార్వీతో బాటు నేనూ అక్కడే ఆ పార్టీ జరిగే గదిలోనే ఉన్నాను!”
-నిజం! నేనూ అక్కడే ఉన్నాను! 🙂
మిగితా విషయాలను పరిశీలించే శక్తి లేదు కానీ, నాకు ఈ కథ ఈ ఒక్కకారణానికే నచ్చింది.
ప్రపంచ సాహిత్యం – ప్రజాస్వామ్యీకరణం: రెండో సారి! గురించి Sowmya గారి అభిప్రాయం:
05/03/2011 10:03 am
ఈ అంశం గురించి ఈమాటలో వ్యాసం రావడం సంతోషంగా ఉంది. మరింత వివరంగా చర్చిస్తూ రాసే ఉద్దేశ్యం ఏమన్నా ఉన్నదా, లేక ఇక్కడితో ఆఖరా?
గురుదేవునికి అంజలి గురించి మోహన గారి అభిప్రాయం:
05/03/2011 7:06 am
టాగూరు తన స్వంత గళముతో పాడిన బెంగాలి, ఆంగ్ల గీతాలను ఇక్కడ వినవచ్చును. అతడు పాడిన భారత దేశీయ గీతమైన జనగణమన అధినాయక జయహే పాటను ఇక్కడ విన వీలగును. విధేయుడు – మోహన
తెలుగు సినిమా పాటకి సుతీ మతీ లేవా? గురించి Siddineni Bhavanarayana. గారి అభిప్రాయం:
05/03/2011 6:19 am
Namaskaram. I am amazed at the elaborate argument you have offered in validating the reigning trend in contemporary Telugu Cinema Pata. I do not know if the following few lines would fall compatible to the line of argument. I would like to share my reaction with you.
It seems Telugu people have not ensured the diverse genres of their music survive the vicissitudes of commercial popularism. Their patronage has now come down to have been truncated by Film Music. All genres of their music such as folk music, light music and ballet are epitomized in their Film music, which has never failed to keep consistency with the achievements and victories of Telugu Cinema.
The great heroes of Telugu cinema are strictly consistent in giving expression to their original talent. None of their great heroes of the Telugu screen has ever allowed a let up in each one’s consistent style, perfected over a long span of career by hard work and by continuously exercising raw TALENT.
None of the great heroes has ever succumbed to the fickle exigencies of a fictional character.The industry as a whole has the discretion to see through the meaningless flourishes fiction writers generally try to impose, passing as indispensable traits of a character, trying to sell as nuances. Neither are the great directors restrained in their art by the misconception as to the invisibility of the existence of a plausible protagonist in a cinematic work of art. All the Telugu speaking audiences have endorsed the conviction of the heroes and the directors in the competence attained in resisting the cliched superstitions of incorporating plausible characterization in the treatment of a story line. In spite of the bickering by mavericks such as Ko.Ku (Paatralu Kaavalenu), the whole industry resisted the lure of blindly imitating the Italians and the French.
Each of the great heroes of Telugu screen have applied very iota of talent with utmost perseverance and individual mettle for achieving a perfect mold, unique for one self. None of the heroes would deviate from the consummate personal style, unique to one self. And the art of Telugu Cinema produced its own constellation of competent critics, endowed with sharp vision, good taste and analytical originality. Yet this horde of visionaries has yet to come up with a single instance of a hero going astray from one’s own perfect mold. Every hero, in careers spanning over decades has excelled himself in portraying every character. No portrayal is marred by any devotion from the consummate pattern – either in diction or in vigorous gesticulation: the two indispensable elements that should enhance the vigour of the given character.
Likewise, progress in Telugu music is as conspicuous as is in Telugu Cinema. As the modern approach to Telugu Cinema rendered the music free of superstitions such as harmony, melody, balance and counter balance, our music directors have become tremendously egalitarian in that their craft has acquired maximum flexibility and they are consistent in setting tunes as adoptable as possible. Our male and female singers lately have immensely perfected the alien art of total flexibly to the extent that they can not be bowed down by the restrictions, inevitably intrinsic to a musical composition. Some classical ragas of the Carnatic system have been so innovatively rendered by our film singers, that the original kritis are to be considered redundant. Vanquishing the lame, gingerly approach and discarding every nuance are key components of success. Some film songs based on classical ragas immensely entertained the discerning Telugu patrons: are ubiquitous in existence, in that they celebrate the given situation and can stand as competent burlesque of the original.
Determined to liberate the music in Telugu films, some innovators have reached out to pan Indian , non Telugu singers. As they have already vanquished the limitations of tune as such, the possibility for further improvisation stands infinite.
But the quest for revolution for perfection is endless. The task for excellence remains unfulfilled. You are not victorious as a speech community, until your film music is freed from the tyranny of sense, still lingers in some rare instances.
With regards .
Yours thankfully,
Sidineni Bhavanarayana.
[we could not help but wish this comment is written in Telugu instead. – Eds.]
జలప్రపాతము గురించి jaisanthosh గారి అభిప్రాయం:
05/03/2011 3:49 am
చాలా బాగుగ ఉన్నది, ధన్యవాదములు.
పిల్లల కోసం గురించి Prasuna గారి అభిప్రాయం:
05/03/2011 2:43 am
మొదటి రెండు కవితలూ చాలా బావున్నాయండీ.
యానాం బోటులో.. గురించి Prasuna గారి అభిప్రాయం:
05/03/2011 2:41 am
చాలా బావుంది.
ఎప్పటిదో భాష
వీడి గొంతులో
మళ్ళీ కొత్తగా ….
beautiful.
నాకు నచ్చిన పద్యం: భీష్మస్తుతి గురించి Prasanth గారి అభిప్రాయం:
05/03/2011 2:07 am
Thanks a lot for sharing this.
కొన్ని అపురూపమైన గొంతుకలు గురించి గోపీకృష్ణ గారి అభిప్రాయం:
05/02/2011 10:29 am
చాలా బాగుంది. ఆ మహానుభావుల గొంతులు వినగలిగే అదృష్టాన్ని ప్రసాదించినందులకు క్రుతజ్ఞుడను.
వ్యాఖ్యాత కె.వి.రమణాచారి గారు.
భవదీయుడు,
గోపీకృష్ణ
మాధుర్యానికి మరో పేరు: ఏ. ఎం. రాజా గురించి Sreenivas Paruchuri గారి అభిప్రాయం:
05/02/2011 10:10 am
భావనారాయణగారు,
Thanks for your kind words! Yes, you are correct that “Manathan Maravillai” is the Tamil version of Telugu గుండమ్మ కథ. We shall try to share some more rare; esp. non-film/AIR numbers of A.M. Raja in near future on eemaaTa.
Regards,
Sreenivas