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Surabhi Kalanidhi

Surabhi

– the name that obviates any specific introduction in the domain of Telugu theatre.
During the early days of the theatre when a performance was typified by the domination of auditory aspects of music and literature with the relegation of the visual aspect to pitiable inattention, it was the Surabhi group that identi-fied the need to emphasize the visuals that should have been at least on par with the other aspects because of the power of immediate message possible through, because inherent in, the visual demonstration. With this perspective – let us say, vision, with the pun intended –, the Surabhi group has carried out, over the years, much technical research, and their name is now synonymous with stunning, innovative ways of presenting any selective anecdote that were sadly absent in the traditional Telugu theatre that used to be more audio than visual…….

Surabhi Temple

Surabhi

community is fully aware that their present recognition and eminence are due as much to the sweat and labour of so many generations
from their forefathers of the distant past to the present members as to the indisputable element of
the divine influence. While immortalising the techniques as a tribute to the art which has ensured their sustenance over the decades, they have embarked on the construction of a temple-complex to signify their
worldly acknowledgement of the divine blessings which have been responsible for their being what they
today are. The main temple is for the Sri Abhaya Anjaneya Swami, who happens to be specific deity
of their group. The complex also includes separate shrines for Sri Kasi Visweswara, Sri Raja Rajeswari, not to mention the Navagrahas,with aplinth area of about 3000 square feet in a site of 1200 square yards.
Another distinctive idea is the development of Nakshathra Vanam,……..

Surabhi Kalaanidhi

 
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Sri Kasi Vishweshwara-Rajarajeshwari-Abhayanjaneya Swamy Devalayam

Surabhi – the name that obviates any specific introduction in the domain of Telugu theatre.
During the early days of the theatre when a performance was typified by the domination of auditory aspects of music and literature with the relegation of the visual aspect to pitiable inattention, it was the Surabhi group that identi-fied the need to emphasize the visuals that should have been at least on par with the other aspects because of the power of immediate message possible through, because inherent in, the visual demonstration. With this perspective – let us say, vision, with the pun intended –, the Surabhi group has carried out, over the years, much technical research, and their name is now synonymous with stunning, innovative ways of presenting any selective anecdote that were sadly absent in the traditional Telugu theatre that used to be more audio than visual.
The inception of the Surabhi group was almost as old as the beginning of the very Telugu theatre (circa 1860). During the days of colonization, these people migrated from Maharashtra and engaged themselves in various vocations – in the British army, puppet-shows, sleight of hand, and the like – and used to earn their living. Of these, the people who lived by puppet-shows gradually matured into the theatrical presentation, to be identified in the later years as the Surabhi group that has undergone much transformation into what is known of it today. To be more specific, in the year 1885, two chieftains named Rami Reddy and Chenna Reddy used to invite these people for presenting their puppet-shows on any important event in their household. This presentation was slowly modified with the substitution of the puppets with live characters involving the members of the Surabhi household, and the subject for the debut of this modified presentation was episode of keechakavadha from maha bharatham, which was the humble start, the tiny seedling that grew to the arboreal prominence of today the world over…….

Surabhi Temple