Balakrishnan’s day begins at 5.30 with exercise and yoga. From from 8 to 9, students come to his residence for eye exercises. ‘‘Eyes play a major role in Kathakali and express various emotions. The eyes have to be tenacious to withstand the duration of the performance.’’ Once this is done, he proceeds to the Centre, where he spends the morning teaching younger students.He admits that the manner of teaching Kathakali has undergone a substantial change, in the Capital as well as in Kerala. ‘‘The climate is different here, and one has to be sensitive to that. The approach towards the art has also changed. We realise that a number of students who come here will not pursue dance as a full-time career.’’If the attitude of the students has changed since the time that he was at school, so has that of the audience. He recollects, ‘‘In 1974, when I came to New Delhi, Mrs Indira Gandhi wanted me to prepare a recital for a visiting Sri Lankan dignitary. I did it, sharply editing various scenes and focussing only on one, (the Nargasura Vadhanam) and that was the toughtest challenge for me. You see, people don’t realise that unlike other dance forms such as Kathak or Bharatnatyam, Kathakali is a dance drama and it is difficult to complete a story in 10 minutes. Sponsors of shows such as the SPIC MACAY and the government should be sensitive to this aspect while they slot recitals. In any case, I have learnt to edit here, as no one seems to have the time for watching a recital through the night.’’
