Abhinaya - Part 2 Vachikabhinaya

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Vachik Abhinaya

The word Vachik abhinaya comes from the Sanskrit word “Vacchya”. In dance text, speeches, dialogues, songs, music ,sound are used to enhance and beautify the performance. Bharata also mentions that the Gana (song), Vadhya (instrumental music) and Natya (drama) should intermingle with each other to make the performance a brilliant entity (alatacakrapratimam). Bharata mentions in Natyashastra that an actor or a dancer must know the  Guna, Dosha and Aharyam of the Kavya/Padhya. He also mentions that the sounds, speech, dialogues must be SARVASARYA (all can hear).  Natyak is known as Natyakavya and is a mixture of Gadhya and Padhya. Songs and dialogues are intertwined in such a way that both become irreplaceable. For any performance we first decide the script and the song and then we work on the remaining three abhinaya based on the Vachya. Shabdha is Shakti. Both shabda and artha have to sink in so that the true meaning can be communicated. Shabda can be used in 3 ways – Abhida (literary meaning), Lakshana( indicative meaning like to depict Lakshmi, we say Chandrasahodari ), Vyanjana (simple words used but the meaning can be something else like –once in a blue moon to mean rarely).Bharata tells that there are 3 types of Gandharva – Swara (Notes), Tala and Pada (Verbal themes). In a performance following can be used.

Sl.

Name

Meaning

1.

Swageeta

Performers sing and performs

2.

Upageeta

Singer sings and performer performs

3.

Susadhya

Sollakattu/ Bols are said by the performer

4.

Upasadhya

Sollukattu /Bol are said by the Nattuvarnar, Guruor someone else and the dancer performs on it

 

Music is very important to create that special effect

Sl.

Name

Meaning

1.

Background Music

Sword sound during fights

2.

Entry/ Exsits

Announcements, Drumroll, Raag specific music

3.

Emphasis

Stressing on certain words or Syllables

4.

Pause

Certain mini pause can be created to enhance the effect later

 

Types of instruments that are used

                         Types of instruments ( Natyashastra )

Sl

Types of Instruments

Name

1.

Tata (Stringed)

Veena, Guitar, Setar

2.

Avanaddha (Covered)

Tabla, Mridangam

3.

Ghana (Solid)

Nattuvangam (Cymbal)

4.

Susira (Hollow)

Flute

 

 Slokam

Tatamcaivavananaddham ca ghanamsusirameva ca |                                                                                        caturvidhm tu vijneyamatodyamlaksananvitam ||

 

Abhinaya Darpana talks about the Patra BahiPrana or the outer qualities of a dancer or the skills that can be acquired.  It talks about the skillset or the knowledge that is required for a dancer.  It specifically mentions Mridanga, Cymbal, Venuh, Srutih, Ekavina, Kinkini, Song, Good singer (male as per the Slokam) - the eight aspect that’s important. The most important part of this sloka is still in today’s world each dance for specifically follows the same music pattern. 

Slokam

Mrdangascasutala ca venuhgitih tatha srutih ||                                                                          Ekavinakinkini ca gayakascasuvisrutah |                            Ityevamanvayajnaiscapatrapranahbahihsmrtah ||





Have a look at the table below :

Musical Instruments

 

Covered (Avanaddha)

Solid (Ghana )

Hollow Instrument (Susira )

String Instrument

(Tata)

As Per Abhinayadapana

Mridanga

Cymbal

Venu (Flute)

Ekavina

Bharatnatyam

Mridangam

Nattuvangam

Flute

Violine, Tambura

Kathak

Tabla, Pakhwaj

Manjira

Flute, Shehanai

Sarengi, Setar, Tanpura, Harmonium

Odissi

Mardala , Pakhwaj

Manjira

Basuri

Veena

Kathakali

Chenda, Maddalam, Idakka

Chengila, Ilathalam

….

….

Manipuri

Pung

Kartal

Flute

Pena, Harmonium

Mohiniattam

Mridangam, Madhalam, Idakka

Kuzhitalam

Flute

Veena

Gaudiya

Khol

Khunjuni, Kartal

Bansuri

Harmonium, Setar, Tanpura

Sattriya

Khol

Manjira, Bhortal, Bihutal, Patital, Khutital

Bansuri

Harmonium, Violine

Folk Dances of Rajasthan, MP, Gujarat, Balochistan

Nagara, Snare Drum,

Khartaal ( Played with one hand contains metal plates on wood)

Alghoza (Paired wooden instrument), Shehanai

Iktara, Kamaycha, Jantar, Sarengi

European Folk Music

Batih, Bell, Bodhran, Bubon

Windchime,

 

Violin, Guitar, Lyre, Zither, Balalaika, Vihuela, Stroh Violin, Harp Guitar

South East Asian Music

Taiko, Tsuzumi,  BolangGu, Bangu, Paigu, Diangu, Yaogu, Huagu, Bajiaogu, Bofu, Linggu

Bianzhong,  Gamelan,

Shakuhachi, Sho, Dizi, Hulusi, Gudi, Hailuo, Lilie, Shuijingdi, Yedi, Suling, angkulung, Sasando,

Zhonghu, Gaohu, Koto, Sanshin, Shamisen, Biwa, Pipa, Erhu,GUQIN, Se, Zheng, Huluqin, Liuqin, Ruan, Yueqin, Qinqin, sANXIAN , Kulingtan,

Middle Eastern Music

Doumbeks, Darbukas, Dofs, Tars, Doiras, Bendirs, Riqs

Zill

Nay, Zorna,Zurna

oUd , Santur, Saz, Tanbur

Latin American Folk Music

Bombo, BomboCriollo, Congo, Guiira Guiro, Maracas, Timbales, Wood block, Tambora, Cowbbell, Bongo

Maracas

Quena.

Lute, Mandolin, Harp

African Folk Music

Djembe, Dunun, Bougarabou, Bata drums, Tams, Sabar

Castanets, Maracas, Shekere

Rattles,  Mbira, Balafon, Ekwe, Udu, Algaita, Marimba, Maracas,

Akoting, Kora, Harps, kundl, Kalimba, Sanza, Jwe’s harp

 


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    12. Hasta Mudra (Hand Gestures) Part 12 AsamyuktaMudra__Pataka Hasta Viniyoga
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