Abhinaya - Part 4 NavaRasa (Techniques)

There are basic 9 human emotions that are taught to the students of Indian Classical dance. There are certain techniques that are taught and followed diligently. These are time tested techniques, however they can only be perfected with regular practice.

Shringara (Love) : Since there are two parts of Shringara, it can has to be explained in two different ways. Sanjog literary means coming together with partner. This can be very well showed by looking side ways, showing shyness as well as keeping the body sideways. Viyog on the other hand means separation. This can be portrayed by bending of the head and slightly slouching.

Hasya (Laughter) : Laughter can be a smirk, timid smile or humongous laughter. While smirking, there is no need to change the body position (it can be both side, or straight). For a timid smile, a head nod, keeping the hand in front of the mouth etc is important. Humongous Laughter requires shaking the body, swaying etc.

Karunya (Compassion) : The most important part that shows compassion are the eyes and forehead (along with bhrukuti).

Roudra (Anger) : Anger can be expressed by keeping the eyes big (preferably round). Breathing heavily and swaying the breast up and down.

Veera (Courage) : This is shown by keeping the head high. Slightly side ways also makes an impact. It shows quite a distinctive body language, if the head/ chin is kept parallel to the shoulder, while the body is pulled a bit back.

Bhayanaka (Fear) : Big eyes, body pulled back, open mouth, eyebrows raised are the distinctive features of Bhayanaka.

Bhebhatsaya (Disgust ) : Disgust has to be shown by taking the body away from certain thing or person who or which disgusts you. Pulling the body backward, spreading the lips, muscle below the eyes can be shrunk to give it a dramatic effect.

Adbhuta ( Surprised ) : Pleasantly surprised look can be shown by keeping the eyes big and bright, while the mouth should be open, eye brows has to be raised.

Shantam (Peace) : Peace can be achieved by closing eyes or keeping the eyes half shut.

Author's Note : It is very important for all the students to practice these techniques on a regular basis. We will soon be uploading the videos on our You Tube Channel.

Important Links

Abhinay : Navarasa Krishna's Stories
Abhinay : Navarasa Devi Stories
Abhinaya : Navarasa Rama's Stories
Abhinaya : Techniques
Abhinaya : 4 Types
Abhinay : Navarasa Practical Techniques

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

Drop your queries or suggestions at sangeetkalakendra1@gmail.com
Visit us on FB : https://www.facebook.com/Sangeet-Kala-Kendra-1461430557205352/

Comments

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

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.

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

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

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,

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

SangeetKalaKendraKolkata

Search This Blog