An Indian epic gets an important staging this week through the lens of one of its most defining characters. Presented through the revered dance form of odishi, Draupadi’s Mahabharata… the epic that began with her — is an upcoming staging by city-based dansuese and odishi exponent Madhulita Mohapatra and her troupe, the Nrityantar Dance Ensemble. The retelling of this vast story is all set to present the myriad emotions associated with the character alongside the movements and the classical rhythms that will blend seamlessly with the narrative. Madhulita joins us ahead of the staging to walk us her journey from conception to production.
You’re bringing the focus back to this epic through Draupadi’s story. What about the story and this person in this epic inspired you to envision this production?
What inspired me most was the realisation that Draupadi is the epic’s emotional and moral centre. Most retellings focus on the war, the heroes or victory. But when I began looking at the Mahabharata through Draupadi’s eyes, the epic started feeling far more human and deeply relevant. It became a story about power, pride, humiliation, silence, responsibility and the consequences of our choices. Even after everything she goes through, the epic does not give easy answers through her. Instead, she leaves us with difficult questions that still feel relevant today.
What will we be witnessing on stage in terms of the narrative during this production?
In terms of narrative, the production unfolds as a continuous journey through Draupadi’s life — starting with her birth from fire, the events of the swayamvara, her relationship with Arjuna, the painful turning point at Kunti’s hut, the game of dice, the humiliation in the Kuru court, the war of Kurukshetra and finally the emotional emptiness that remains after victory.
Odishi is celebrated for its grace, fluid movements and lyrical beauty. How did you adapt the grace and fluidity of odishi to portray the emotions of Draupadi?
Odishi is often associated with grace, lyricism and sculptural beauty. But beneath that surface, it also carries immense emotional depth, strength and intensity. The challenge was to discover how deeply the form is capable of expressing complex human emotions. Draupadi’s journey demands a wide emotional range — tenderness, love, humiliation, rage, helplessness, resilience, grief and reflection. Many of these emotions are conveyed not through exaggerated movement, but through restraint, stillness, the eyes, breath and controlled energy. At the same time, the group choreography expands the emotional scale; Draupadi’s rising fury uses stronger rhythmic patterns, sharper spatial designs and more forceful energy, while still remaining rooted in odishi technique. There are moments of lyrical softness, but also moments where the rhythm becomes tense, relentless or meditative.
What can we expect next?
Right now, I’m developing a new odishi dance production centred around the Dasavatara, the ten divine incarnations of Lord Vishnu.
INR 500. June 7, 3.30 pm. & 7.30 pm onwards. At Jagrit Theatre, Whitefield.
Mail id: pranav.shriram@newindianexpress.com