Répertoire

Le répertoire de Bharata Natyam est appelé Margam, ce qui signifie le "chemin".
L'artiste débute un récital avec une salutation et des offrandes afin de sacraliser l'espace scénique et saluer les maîtres, les divinités de chaque direction, le public.
Viennent ensuite les pièces purement techniques, tel que Alarippu, Jatiswaram..
Les pièces suivantes, tout en demeurant technique, introduisent l'abhinaya - art de l'expression, il s'agit de Sabdam ou Kautuvam.
La pièce centrale du récital est le Varnam. L'artiste développe une grande palette émotionnelle ainsi que ses capacités techniques avec des jati très élaborés.
Les danses qui suivent sont des padam. Pièces d'abhinaya où prime l'aspect émotionnel.
Enfin, le récital se conclut par le Thillana, danse de joie.

Margam:

- Pushpanjali
- Alarippu
- Jatiswaram
- Kautuvam ou Sabdam
- Varnam
- Padam ou Javali
- Thillana

Margam comparé à un temple, selon la légendaire T.S.Balasarasvati

“The Bharatanatyam recital is structured like a Great Temple:

we enter through the gopuram (outer hall) of alarippu, cross the ardhamandapam (half-way hall) of jatiswaram, then the mandapam (great hall) of sabdam and enter the holy precinct of the deity in the varnam. This is the space which gives the dancer expansive scope to revel in the music, rhythm and moods of the dance. The varnam is the continuum which gives ever expanding room to the dancer to delight in her self-fulfillment, by providing the fullest scope to her own creativity as well as to the tradition of the art.

Padams now follow. In dancing to padams, one experiences the containment, cool and quiet of entering the sanctum from its external precinct. The expanse and brilliance of the outer corridors disappear in the dark inner sanctum; and the rhythmic virtuosities of the varnam yield to the soul-stirring music and abhinaya of the padam. Dancing to the padam is akin to the juncture when the cascading lights of worship are withdrawn and the drum beats die down to the simple and solemn chanting of sacred verses in the closeness of god.

Then, the tillana breaks into movement like the final burning of camphor accompanied by a measure of din and bustle. In conclusion, the devotee takes to his heart the god he has so far glorified outside; and the dancer completes the traditional order by dancing to a simple devotional verse”