In the present scenario of artist expressing himself beyond the stage, where protagonist preaches experience larger than theatre itself, is where ‘Natyadharmi’ enters the picture. In Natyashastra, it is the representation larger than life and very much tuned to convention with style. The artist’s imaginative brush can be waved free on the canvas in that mode, or in contrast to ‘Lokadharmi.’ Simulation of a very natural way of life, where acting is ornate yet refined, rich in semiotics but secular in artistry. Natyadharmi Parakkadavu brings this emotion which is above realism to appeal to general public. Though onerous is the tasks of interpretation of emotions or a line of poetry as possibilities are endless, a firm belief fuels the fire for earnest attempt and effort in focus.

Our Natyadharmi aims at extending the banner of amiable art not just to traditional temple art forms and classical or über-classical dances, but also to less codified folk schemes, however crude or grotesque, coarse or simplistic. “The aim of art, the aim of a life, can only be to increase the sum of freedom and responsibility to be found in every man and in the world. It cannot, under any circumstances, be to reduce or suppress that freedom, even temporarily,” thus stated Albert Camus. The design to this endeavor’s desire resonates exactly with that thought. For that, the intricate patterns have to be elucidated and thoroughly explained. Also the already non-technical crafts have to be provided with ample nourishment to sustain the test of time. Vision evolving to the mission bearing fruit may seem inconceivable, but honest exertion proves progress and asserts every theory of conviction and credence.