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After eight years of marriage, Aditya and Payal finally filed for divorce on April 20, 2009.Around the time, Aditya was especially making moves for Rani, like Dil Bole Hadippa.
Rani and Aditya never made their relationship public, and never posed for pictures together either.However, she started spending quite a lot of time with the family, and was even spotted returning from a holiday with them in 2012.
In February 2013, Shatrughan Sinha addressed the actress as Rani Chopra at the unveiling of Yash Chopra’s statue.
There was speculation that Rani and Aditya would tie the knot on Valentine’s Day at Umaid Bhawan in Udaipur. We try to fit in the pieces.Rani Mukerji and Aditya Chopra tied the knot at a quiet ceremony in Italy on Monday.
But it was apparently postponed because of Rani's hectic work schedule.But like a true Yash Raj film, the Aditya-Rani saga ends on a happy note.Congratulations Mr and Mrs Chopra! Further, it appeared unique as the basic emotions were delineated through select female characters from Indian mythology and history. Interestingly, the three danseuses chose to present each rasa in turn and finally joined together to enact ‘saantha,' the basic one.Enchanting sequenceEnchanting dance sequences could be seen in the portrayal of ‘hasya' by Molina Singh. The Asura was hasya incarnate when he obtained the boon from Siva which helped him to reduce to ash any being he could point his finger at. And here the transformation of Siva to Mohini who invites the Asura for a dance completion was well depicted.
But finally Bhasmasura imitates Mohini in pointing his finger at his own head and that destroys him.As for roudra, the character selected was Soorpanakha. Apoorwa was all fury as she enacted the demoness tossed between the brothers Rama and Lakshmana.
She turns into the very embodiment of roudra, as she rushes to her brother Ravana asking him to abduct Sita.Beginning with an enchanting Nritta, Leena switched to Menaka, the character chosen for Sringara. Perhaps more theatrical was the delineation of all the remaining rasas as appropriate changes in the costumes were effected for better aaharya and abhinaya.
Also, ‘aangika' and ‘satwika' abhinaya were more discernible in this sequence.The story of the birth of Kauravas was the anchor for bibatsa (revulsion). The blind-folded Gandhari, infuriated over her prolonged pregnancy of two years gave birth to a big, hard lump of flesh.
It was cut into 100 equal parts and kept in earthen pots leading to the birth of the Kauravas.
Yashoda's wonder at all these was well enacted by her.The story of a newly married Rajput chieftain who refused to go to the battlefield without a memento that reminded of his beautiful wife, evoked the veera rasa.


The story says that the man tied the severed head on his neck, went to the battle field and faced death.For karunya, Apoorva related the story of Yashodara's travails after being abandoned by her husband, Gautham.
Her technique of bringing a sakhi to listen to her had much in common with that usually employed in Mohiniyattam. Molina's depiction of Kali in all its ferocity spoke for her singular abhinaya and also the tisra gati of the rhythm she chose.
Her postures of ‘veerabhadra aasana' and ‘uddithapadangushtaasana' helped her to heighten the mood.
The sculpture that the Kathaakar team presented was viewed from the angle of nine basic emotions, the navarasas. An analysis of the psychological mystery of the woman is carried through the narration and dramatization of known events in the lives of mythical and historical figures of India. The dance recital starts with Molina Singh as Mohini, the charmer who fooled the arrogant Bhasmasura.
In a classic case of tilting scales, here is the story of Man proposing and Woman disposing choreographed and performed by Molina Singh to her own musical composition.   Soorpanakha is the embodiment of deceit in Ramayana. Her real nature is hidden underneath her mask of beauty when she comes to woo the handsome princes. The dramatic turn of events give rise to the special flavor of raudra, the anger of a demon, superhuman in dimension. Apoorva presented the strength and power of a mythical character giving importance to abhinaya, to the music composed by Manoj Desai. The cries of Gandhari, the archetypal mother who lost her sons have echoed in the battle fields ever since Kurukshetra.
In the dance recital, Molina Singh projects the hidden facet of the woman who lived to be the queen. In a stunning theatrical performance regulated by her musical composition, only one emotion, bhibatsa (revulsion) is displayed in great intensity.
The pregnant queen devastated by the news of the birth of a son to Kunthi, is in a towering rage.
Disgusted at the sight of the mass of flesh that she delivered, she throws it away in repulsion. Gandhari, in her costume of blood red and black emerges a part of dramatis persona rather than the usual Kathak dancer.       The orchestration of the rasas reaches its peak in Gandhari that Yasoda comes as a welcome relief.
Once again, Apoorva presents a curious angle to view Yasoda, the indulgent foster mother of Krishna who has spoilt her naughty darling.


For Yasoda, the boy who killed the serpent Kaliya, who lifted the mountain Govardhan, evoked only wonder.
It is the sense of wonder evoked by her lovable rascal of a son that makes Yasoda such an indulgent mother.
Indeed the culminating point is when she asks him to open his mouth to test whether he has eaten mud -Viswaroopa darsan!
A beautiful recital of the celebrated mother-son relationship drenched in vatsalya set to music by Manoj Desai stole the heart of Krishna lovers in Thrissur. Renounced by her husband, Yasodara follows the path of the Buddha, renounces worldly pleasures but remains duty bound to rule the kingdom for their son, a true karma yogini.
As she lets the bird out of the cage, out of her hand to skyward, the theme of liberation is suggested as the undercurrent of her story.
Yasodara, choreographed and executed by Apoorva set to the scores of Manoj Desai is the most dignified lady in the trajectory that the persona of the Indian woman has left behind.    Kali is another character that is defined by aharaya.
In an experimental mode, quick-paced thandava dance, black costume, and music close to chanting, sculpt Kaali, the Goddess of Death in awesome ferocity. Choreographed and performed by Molina Singh set to her own musical composition, Kali emerges as a power enveloped in bhayanaka rasa, which negates everything that life offers. A group performance set against the music of waters, the last item heightened the symbolic. Clouds gather, raindrops fall in rhythmic beat, growing in intensity, rivulets grow into rivers and flooding and flowing seaward merge in the oceans.
In a lyrical performance set against the orchestra of the waters, the audience experienced peace, santhi, the peace that passeth understanding. After her first day at the dance school, she is back at the house where she lives as a paying guest. Sanatombi tells her that she is in pain.“So you pulled your nose to look Indian?” the mother asks.
It is a constant struggle to be Indian.”The play received a standing ovation from the audience. Molina's depiction of Kali in all its ferocity spoke for her singular abhinaya and also the tisra gati of the rhythm she chose.



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