Skip to main content

Abhinaya Part 1 -- Types of Abhinaya



The word "Abhinaya" means expression. Abhinaya is the ultimate purpose of any dance performance. Done properly, it invokes Rasas in the audience. Abhinaya is a huge subject that cannot be covered in a day. Regular practice under proper guidance can help the students master Abhinaya. It is very difficult to teach Abhinaya. In fact some say, Abhinaya cannot be taught. Only the techniques can be taught and the dancer has to learn himself or herself.



There are 4 types of Abhinaya

  • Angikam : As the word "Angik" literaly means physical. Angikam Abhinay involves the physical aspect. This is performed with the help of Anga, Pratyanga and Upanga. It depends on the mudras, eyes, eyebrows etc. It basically is the body language.
  • Vachikam :  As the word "Vachik" translates to "words". This means the vocal part of the abhinaya. This includes the songs, poems, dialogues,swaras, jaatis etc set to different ragam and taalam.  This is called the lyrics or narration. 
  • Aharyam : "Aharyam" menas " Ornaments". This includes the Ornamentation, Costume and the Make up part of the dance. This has to be taken care of as per the mood of the dance or the charecter that is portrayed.
  • Satvikam : This is basically the expression of moods. some describes satvik abhinaya as " the abhinaya that comes from within".

                          Angikam BhuvanamYasa | Vachikam sarvavamayam ||
                   Aharyam Chandrataradi     |  Tam Namah: Swatvikam Shivam||


Abhinaya can also be divided into the following :

  • Lokadharmi Abhinaya : Generally speaking this is more realistic pattern of abhinay that do not follow strict guide line. Inspirations are drawn from day to day life or for that matter anything. This is more attractive as audience can associate with it. It doesnot follow a prescribed codification of hastas or body movements.
  • Natyadharmin Abhinaya : This is more of classy part of abhinaya, a pattern that is followed through ages. Ancient practices ( Style or gharana) is follwed as per the guide lines of  books like Natyashastra or Abhinayadarpana. The hand gestures, bhramari, chari, gati all are follwed precicely as described.



Author's Note :  We will soon be posting related videos on this.




Other Links
Visit us on FB : https://www.facebook.com/Sangeet-Kala-Kendra-1461430557205352/

Comments

Post a Comment

Popular search

Angalakshana Part 1 - Anga Pratyanga & Upanga

 The science of dance was extremely well developed in ancient India. The word  Angalakshana  refers to the way of moving the body parts. In order to understand the concept and to perform Angalakshana, one has to understand and practice the categorization of the human body.  Types of Angalakshanam are written below. We will in-turn look at each of the Angalakshana in detail. Each and every student had to understand and practice this on a daily basis. Only after the mastering these, the Gurus would move towards teaching the students the dance numbers. Anga Pratyanga Upanga As per ancient Hindu practices, a human body or Sharera is taken as an inverted tree where the roots are at the top rather than at the bottom.  Both Charaka Samhita and Sushrut Samhita (the first known book on medicines written by Sushrut around 400 BC) talks about dividing the human body into 3 main divisions viz. Anga, Upanga and Pratyanga.  Charaka also proved the co relation of spirituality and physical health c
Post a Comment
Read more

Hasta Mudra (Hand Gestures) Part 3 - Deva Hasta

Deva Mudras are an integral part of learning Indian Classical dance. These mudras are taught at a very early age to the students in order to achieve fluency. Abhinayadarpana talks about deva hastas. These hastas are not only used in depicting Gods and Goddessess during a play or dance, it is also used for sculptures of these deities. Natyashastra talks about how to decorate the stage.  Bharata also talks about which corner/ side of stage belongs to which God. This concept is extensively used in Vastu Shastra and Agama Shastra. These are called  Deva Hastas and AshtaDikpal Hastas.    Sl No. Deity Right Left 1. Bhrama Hamsasya (Chest Level) Chaturam (Facing Upward, chest level) 2. Vishnu Tripataka at waist level Tripataka at waist level 3. Shiva Tripataka (at the side of the ear) Simhamukham ((at the side of the ear) 4.
1 comment
Read more

Natya Shasatra _Slokas

Artist : Shilpi Nandi  "The joy of dance can not be explained or taught. It has to be experienced."  Following are the first few slokas of Natya Shastra. Pranamya Shirasa Devou Pithamaha Maheswarou Natyashastram Pravaksyami  Brahamanaya Duthahrutham     I bow my head to Pitamaha (Brahma – the creator) and Maheswara(Lord Siva – the creator of dance) and reveal the science of dance, drama and music (Natyasastra) as it was taught to me  by Lord Brahma. (Bharata Muni states) Devadanaam Shirasthasthu  Gurunamasya samsthithaha  Vakshasthaschaiva vipranaam   Sheshethwa niyamo bhaved     I seek blesssings and offer prayers( with Anjali hasta ) hands placed above the head for the Gods, at the forehead for the Guru’s, in front of the chest for all the elders and for all others there is no special rules. This is the basic rule for all the Indian classical dance forms of India and is commonly followed in the entire south east Asia. Vishnu shakthi samuthpannae 
Post a Comment
Read more

Hasta Mudra (Hand Gestures) Part 12 - Jaati Hasta or Varna Hastas

Since Pre - historic times, Indian society had a complex, inter- dependent and co operative political economy where each individual had a specific role to play in uplifting the society and human welfare. The caste system in ancient India was followed with precise order and instructions. One can go on and on about the intricacies of the Caste System in India. Many research in modern times have been conducted on the caste systems. For centuries, caste dictated each and every aspect of Hindu life with each group occupying a specific place in the complex hierarchy. Earliest mention of the caste system in ancient India can be found in Manusanhita (1000 years before Christ), a book written by King Manu who ruled South India and have said to migrated to North India. Jaati Hastas are very common in Indian classical dance compositions. While composing a dance drama it becomes very important to depict the characters with the help of these Hastas. These hastas in co ordination of the body
1 comment
Read more

Angalakshana Part 3 - Dhristi Bhedam or Eye Movements and Bhrukuti Bheda or Eye Brow Movement

              Drishthi in Sanskrit literary meaning “Vision”. In relation to our eyes it means “sight” or “to see”. The classification of these eye movements are based on how we move the eye balls. In fact we use each of them in our every day routine. Just a matter of identifying with their names. There are eight types of Eye movements given in Natyashastras. 1. S ama : Eye kept still without any movement,Eveness of eye where the eyes are kept still. Usage : Depicting GOD,peace, pride 2. Alokita : Rolling your eye balls in a circular pattern. Usage : Showing fear. 3. Saachi : Looking through the corner of the eyes. Usage : Looking at rivals, competitors, showing shyness. 4. Pralokita : moving your eyes side to side.  Usage : taking a peak on someone. 5. Nimilita : It looks like a half shut eye. Here one tries to focus the eye ball towards the heart. Usage : Meditation, sages, showing the meditative state of Gods, Peace 6. Ullokita : Looking upwards. Usage : Showing sky, God,
1 comment
Read more

Hasta Mudra (Hand Gestures) Part 5 - Bandhava Hasta

Bandhava Hasta means the hand gestures that reflects the relationship. These are very important for dance compositions. These are also known as Bandhu Hastas. As per Abhinaya Darpana There are 11 Bandhava Hastas. They are as follow   Dampati Hasta   : It means married couples.This is denoted with Shikhara in left and Mrigashisya in right hand.  Matru :  Matru or mother is depicted by holding Ardhachandra in left hand near stomach(turned over) and Samdamsam in right hand. Pitru : Pitru or father is depicted by holding Ardhachandra held near stomach in the left hand and Shikhara in the right hand Sodra : Sodara means Brother. Elder brother is depicted by Myura is both the hands in front of the belly. Younger brother is shown by Mayura hands on both the sides. Putra : Putra or Son is depicted by Shikhara in left and Samdam in right held near the belly and then moved in a circular way. Snusha : Means Daughter -in - law and is depicted by showing Putra hasta and then Mrigashi
Post a Comment
Read more