PAPER 16 DANCE DESIGN- NRITYA OF BHARATANATYAM (CHOREOGRAPHY AND COMPOSITION) MODULE 1: ABHINAYA: THE ART OF COMMUNICATION

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5 PAPER 16 DANCE DESIGN- NRITYA OF BHARATANATYAM (CHOREOGRAPHY AND COMPOSITION) MODULE 1: ABHINAYA: THE ART OF COMMUNICATION Concept of Abhinaya The purpose of the play is conveyed to the spectator through Abhinaya 1 says Professor Tarlekar, emphatically establishing the fact that there can be no drama without abhinaya. Thus re-iterating Bharata muni s claim that abhinaya becomes natya. Abhinaya is that component that Brahma culled from the Yajurveda (yajurvedat abhinayan/यज र व द त अभ नयन) and along with Päthya/प ठ य from Rig, Gäna/ग न from Säma and Rasa from Atharva/अथर वव created the fifth Veda, the Nätya Veda. 2 He refers to Nätya as (lokanukaraëa/ऱ क न कर य ) the imitation of the good and bad deeds and emotions of the people in different situation. 3 When these are depicted through the abhinaya of gestures, and such others (i.e. words, costume and facial expressions) it becomes Nätya. 4 This concept is well established when in the eighth chapter he says that Nätya in all its variations and divisions is based on the four abhinayas. 5 1 Studies in the Natyasastra, G.H.Tarlekar, Motilal Banarasidass Publishers Pvt. Ltd. Delhi, 1975,1991.ch.2, p67. 2 NS of Bharatamuni, with the AB of AG, Vol. I, Ch. 1 sl.17 Ed. Dr. R.S. Nagar, Parimal Publications, Delhi, Ibid sl Ibid sl Ibid Vol. II Ch. 8I sl. 8 1

6 Again in the sangraha/स ग रह (digest) enlisting the eleven constituents of Nätya in the sixth chapter, Abhinaya is mentioned as one of the constituents. 6 Rasä bhävä hyabhinayäh dharmé våtti pravåttayah I Siddhih svarastathatodyam gänam rangañca sangrah II In chapter 8 of the Natyasastra Bharata muni s disciples, who have just finished assimilating the concept of Bhava and Rasa (in chapter 6 and 7), ask him to explain what is Abhinaya. The rishis who are his disciples say With your grace and explanation we have learnt the proper origin and nature of emotions (Bhava) and sentiments (Rasa), in their entirety. Now, we would like to learn the different types of representations (Abhinaya) identified by the knowledgeable masters of drama in a theatrical presentation. Why is it called Abhinaya? How many varieties of this have been enumerated? O great seer! Please do instruct on everything regarding its principles, as also how one should perform, and how and when one can attain success in its presentation? 7 Asserting the importance of abhinaya, Bharata starts explaining from the etymology of the word abhinaya and then goes on to elucidate its various types, their origin and internal variants, and finally their application. Thus the concept of Abhinaya, in all its variety, almost becomes the main body of the Natyasastra treatise. Bharata explains that Abhinaya etymologically is derived from the prefix abhi and the verbal root ni (ëéï) to which the suffix of ac from yerac sutra is added forming the word Abhinaya. 8 The root né preceded by abhi gives the sense of directed towards 6 Ibid Vl. I Ch. VI sl NS of Bharatamuni, with the AB of AG, Vol. II, Ch. 8 sl.1-3 Ed. Dr. R.S. Nagar, Parimal Publications, Delhi, Ibid Vol. II Ch. VIII prose between sl. 5 and 6 2

7 (abhimukhya/अभ म ख य). Hence that which carries the performance towards the spectator bringing out the meaning clearly before them is termed as Abhinaya. Abhi, the prefix means towards and né stands for carrying (nayati), hence it represents that element which helps us to put forward any idea. In our current terminology, Abhinaya can be explained as the Art of Communication. It can be understood as the histrionic expression of the mood, emotion and nature of the play through four fundamental modes of communication. They are, ängika abhinaya, communication through physical gestures, väcika abhinaya is verbal communication ähärya is communication through ornamentation satvika is emotional communication. Nätya depends on Abhinaya or enactment to produce the aesthetic pleasure of rasa, which is the main purpose of Nätya. Bharata defines Nätya as imitation (anukaraëa) and glorification (anukértana/अन क तवन) i.e. it should be a dramatically glorified imitation, of the whole creation, the universe. It is, therefore, a recreation. Only then it will be able to communicate the desired meaning to the spectator and become a source of entertainment. Dr Padma further explicates saying the objective world is personalized by the actor and then again externalized through Abhinaya. In other words, it is a process of transformation of Being and Becoming. When realities of life with all its pleasures and pain are applied through Abhinaya of four kinds, it is Nätya. It is seemingly real.. yet illusionary. 9 9 Dr Padma Subrahmanyam, Karanas common dance codes of India and Indonesia, Vol. I p. 15 Nrithyodaya, Chennai,

8 The fourfold Abhinaya Angika Abhinaya is communication through the body movements. It can be explained as the physical gesticulation of a concept through the coordinated movement of the anga or major limbs and upanga or minor limbs of the body. The gestures of the limbs are divided into three types namely Sharira/शर र those belonging to the body, Mukhaja/म खज belonging to the face, and Chestakruta/च ष ट क त those resulting from the movements of all the limbs which are made up of the sakha, anga and upanga. 10 The entire body is analysed under two divisions, the anga or the major limbs and upanga or the minor limbs. The major ones are shira (head), hasta (hands), uras (chest), parsva (sides), kati (waist), and pada (feet) and the minor limbs (mukhaja) are netra (eyes), bhru (eyebrows), nasa (nostrils), adhara (lower lips), kapola (cheeks) and chibuka (chin). 11 The shrira upangas such as the greeva (neck), bahu (arm), udaram (belly), uru (thigh), jangha (shank) and kara vartana or hasta karana involving the movements of the wrists, the sthanas or static postures of the body and the caris or the movements of the legs all of which are covered from chapter eight to chapter twelve. Every limb has slokas prescribing every possible movement for it based on kinetic principles which has to be practiced and perfected as exercises. The Sthanas have six male positions 12 and three female positions. 13 Then there are certain sitting positions given under asanas. 14 When these sthanas get mobilized into action with the help of the anga and upanga they give rise to the caris, which are movement of the legs involving them from the root including the hip. There are 10 NS op cit, Vol. II, Ch. VIII, sl Ibid sl Ibid ch. X sl Ibid Ch. XII sl Ibid Ch. XII sl

9 sixteen bhu caris where both the feet are constantly in contact with the ground, and sixteen akasacaris where one foot is constantly raised in the air. A combination of the movements of various limbs creates a karana hasta pada samayoga nåttasya karaëam bhavet 15 Abhinava explains hasta as the limbs of the upper part of the body and pada as those of the lower part. Hence a karana is made up of sthana, caris, and nåitta hastas. It is quite clear here that the mukhaja upangas make up the mukhaja angikaabhinaya, the rest of the body the sarira and their movements become ceñöakåta. Angika can be represented in two ways. It may be padarthabhinaya/पद थ वभ नय where every word of the lyrics is expressed through actions mostly through the abhinaya hastas, and the other is vakyarthabhinaya/र व क य थवअभ नय where communication of a general idea of a sentence or mood is expressed through the karanas or even the nåtta hastas. For the actual execution of these, three mediums are given as shakha, aìkura and nåtta. Shakha literally means branch and here denotes the entire system of gesticulation through hands. Ankura/अ क र is sprout and the practical application of the shakha/श ख to convey some idea, like ideas sprouting out of the Shakha and taking form is called ankura. Nritta is non-representational dance made up of karanas and angaharas. 16 Though angika represents physical expression it is tremendously influenced by the mind. The connection between the psyche and physic is so intrinsic, that even the minutest vibration of the mind gets easily reflected through the body in daily life itself. For instance, nodding the head is part of human behavior while reacting. The force, speed and space of our pacing also reflects the 15 NS op cit Vol. I Ch. IV sl NS op cit Vol. II Ch. VIII sl

10 inner composure and conflicts. The art of physical expression is hence beautifully conceived, classified and codified by Bharata, to artistically suit a dramatic representation. 17 The angikabhinaya had to be mastered by the actors, as there would be no natya without it. Bharata says where the actual property, like chariots, horses, weapons and so forth cannot be used then the gestures and movements prescribed should physically convey the concept. Vacika Abhinaya is communication through verbal representation of an idea. Dialogues, soliloquy, lyrics of songs, and even mere voicing of sounds will come under väcikäbhinaya. Bharata places vacika on the highest pedestal by saying In this world the Shästras are made up of words and rest on words, hence there is nothing beyond words, and words are the source of everything. 18 So he advises that one should put in effort to perfect the väcika or words as it forms the body of the naöya; the angika, aharya and satvika clarify its meaning by making it visual. Even if the text of the naöya is perfect, without proper utterance, it will spoil the communication and even change the meaning. It is possible to have the contrary feelings like respect and contempt to be produced by the help of voice modulation. For achieving this, the recitation is supposed to possess these six qualities. 19 They are Svaras/स र वर (musical notes) which are seven (saptasvaras/सप तस र वर), Sthanas/स थ न (voice registers) which are three octaves, Varnas/र वर व (manner of uttering svaras) which are four modes, Kaku/क क (intonation) which are of two types with expectancy in an unfinished sentence, and without expectancy as in a completed 17 Dr Padma subrahmanyam, Bharata s Art Then and Now, p.5 Bhulabhai Memorial Institute Bombay and Nrithyodaya, Madras, Manmohan Ghosh NS English trans. The Royal Asiatic Society of Bengal, 1950, p. 248, Ch. XV 3 19 NS op cit, Vol. II Ch. 17 prose sl

11 sentence. Alankaras/अऱ क र (enhancement) are of six types represented through pitch and speed of utterance, Angas are of six types indicated by pauses, reciting in metre etc Bharata has devoted four chapters to Vacikabhinaya (fourteen to seventeen) giving in the beginning itself the structure of the Samskåta/सम सस तक language with vowels and consonants, vyakaraëa/व य करर (grammar based on nouns, verbs, their structuring etc.) Chanda/छ द (metre) alankara (figures of speech), the lakñana/ऱ छन (rules) of Prakåta language and modes of addressing different kind of characters. The language employed should suit the characters. He mentions the four Bhañhas/ ष or languages which show the tremendous mental progress that had been achieved by the people then to be able to identify them. Ati Bhañha/अतत ष is the Vedic language of the super human, Arya Bhañha/आयव ष is the systematically refined language of Samskrita, Jati Bhañha/ज तत ष is the commoner s language like the Prakåts and other dialects, Yonyantara Bhañha/य न य न तर ष is the language of the subhuman language of birds and animals. Bharata advocated multi lingual productions, so that it appealed to all strata of people. He recommends Prakåit/प र क त for women and common people, so that there is an instant identity and rapport with the commoner in the audience. Aharya Abhinaya is communication through all the external elements such as make-up, costume, ornaments and accessories like weapons, shields, masks, etc. Even stage properties like cut outs of hills, palaces, trees, huts and so forth, as also mechanical 7

12 devices come under aharya abhinaya. Every kind of external, artificial and temporary requirement for the presentation of the Natya including curtains, asanas, lights, and stage decoration will be known as aharya. Aharyabhinaya is classified into four groups namely pusta/प ष ट or model work, alanaära or decoration, anga-racana/अ ग-रचन or cosmetic painting of the body, sajjiva/सज र व or life-like representation of animals and birds and personification of inanimate objects. All these elements add ornamentation to the play to make it a grand spectacle. Hence aharyabhinaya which forms Chapter 21 of the NS, is referred to as the ornamental aspect of Natya. Bharata says that this abhinaya becomes more important than all others because the aharya communicates the concept and mood by its dress and decor, even before any action is done or a word is spoken. Satvika Abhinaya is the communication of intense emotional feelings through physical manifestations such as actual shedding of tears, experiencing horripilation and such others. The word satva itself represents the intellect. When all other abhinayas of angika, vacika and aharya appeal to the senses and strike a sense of recognition and comprehension to the mind, the essence of the emotion of the situation is brought out through the satvikabhinaya which is cognized by the intellect. This is why a viewer is able to cry or laugh with the performer. Satvikabhinaya is essential for realization of Bhavas (emotional states) and Rasa (the consequent aesthetic relish). Hence every one of the eight sthayibhavas is established with the vibhava (determinant) resulting in the anubhava (consequent) through the thirty three vyabhicari bhavas brought forth to the spectator 8

13 through the subtle expressions of mukhaja upangas of eyes, eyebrows, nostrils, lips, cheeks and chin and the eight Sthayi Bhava or physical manifestations of intense feelings all these leading up to the rasotpatti or rasa realization in the viewer. This manifestation of emotions is called Satvikabhinaya, as it requires the mental and psychic involvement of the performer who communicates, and the viewer, who receives and relishes the performance. Bharata expounds the concept of Satvikabhinaya in chapter 7 along with the eight satvikabhava which are different from the others because it is not merely trying to show an emotion but actually experiencing it, like shedding tears and not merely enacting it with hand gestures and a sad countenance. This is what Bharata means when he says an actor should assume the form of the character as if he had transmigrated into it. The eight Sätvikabhäva or Temperamental states are : Sthambha (paralysis or petrification), sveda (perspiration), romäïca (horripilation), svara-bheda (change of voice), vepathu (trembling), vaivarëya (change of colour), añru (weeping) and pralaya (fainting) situations which lead to such expressions and how they have to be enacted are given. It is amazing to realize how many eye movements (drñti) and smiles (hasa) have been studied and explained by Bharata for the Satvikabhinaya. To enact the Satvikabhinaya is the most difficult. It needs tremendous concentration. But once this attitude has been mastered, the artiste can hold the audience in his/her grip and give them the bliss of anandanubhava of Rasa. Samanya Abhinaya is that which is born out of an equally balanced (samana) combination of the vacika, angika and satvika abhinayas to communicate a commonly known concept (samanya) 9

14 sämänyäbhinaya näma jïeyo vagangasatvaja (NS Ch. XXII Sl. 1). It should be understood here that the relevant aharya is already done, only then the other abhinayas are commissioned. The earlier anaÿysis of angika, vacika, aharya and satvika abhinayas are the basic components, which when judiciously blended together can be put forward in the form of Samanya Abhinaya basic or general histrionic expressions which can easily be comprehended, associated and relished by the onlooker. The topics which are commonly enjoyed by the people are based on human relationships, particularly the love themes and the relation between man and woman and their behaviour in different mental situations. For establishing these in a dramatic presentation the further psychological analysis of characters and their relevant physical behaviour and verbal utterances are elaborated in this chapter of NS (22). The experts in näöya accept that feminine graces are the main support of sentiments and these are registered through subtle changes in the face and body limbs. There are ten natural and seven involuntary graces in women which are exuberant in youth, hardly visible in childhood and lost in old age. The physical graces are Bhava, Hava, and Hela, which arise from one another, each being a manifestation of an emotional aspect. It may be understood that Bhava (feeling or emotional state) arises from the satva (the mental caliber). Hava arises from Bhava and is manifested in the changes in eyes and eye-brows and flexions of the neck, indicating the erotic mood. Hela arises from Hava, and is represented through graceful movements. 10

15 The Sämänya Abhinaya can be brought under six categories as regards the presentation of näöya. They are vakya, suca, ankura, shakha, naöyayita and nivåtyankura. 20 Vakya abhinaya is vocal expression through verse or prose in consonance with the respective bhava and rasa. Suca is indicative expression with eyes etc. (of the face) before the vakya is uttered. Ankura is indicative expression with the gestures of sentences one feels in mind where the words are not needed. This is like the sancari bhava in dance. Shakha is gesticulation with the various limbs, especially the hands. Natyagita is the enacting of a song (dhruwa) relating to the bhava and rasa of the situation, meant to enliven the natya and fill in the time required for the other characters to enter. It may also be presented through instrumental music but conveying the emotions through suca and ankura. Abhinava says that it may even represent a play within a play. Nirvåttyaìkura or vicarious expression is used in places where the meaning of a sentence spoken by a character is interpreted by another character through indicative expression as though the meaning of the sentence relates to himself or herself. 21 The method of representing objects of sense organs is given, so also behaviour of different type of women, who possess the nature of gods, demons, gandharvas, even animals and birds. According to dramatic convention women are also classified as bähya/ब ह य (courtesan), äbhyantara/अभ य न तर (noble, high born), and 20 NS op cit Ch. XXII sl P.S.R. Appa Rao, A Monograph on Bharata s Natya Sastra, Naatya Maalaa Publishers, 1967, p.79 11

16 bähyäbhyantarä/ब ह य भ य तर (sanctified courtesan) and the heroines are of eight types known as añtanäyika namely Väsakasajjikä (dressed up for union), Virahotkaëöhitä (distressed by separation), Svädhénabhartåkä (having the husband under subjection), Kalahäntarita (separated by quarrel), Khaëòita (enraged), Vipralabdha (the deceived) Proñitabhartåkä (whose husband is on travel and Abhisärika (emboldened and moving towards her lover). The behaviour of man towards women, and the propriety of what has to be enacted before an audience consisting of various age groups, and close relatives, is also dealt with under representation of Samanya Abhinaya. Chitrabhinaya is special representation of particular objects and idea with the hands gestures. It creates a pictorial effect because it conjures up impressions like a painting. It deals with those aspects of representation which have not been covered in other chapters. Angadyabhinaya sydiva yo viseñaù kvacit kvacit anukta ueyate citraù sa citrabhinaya småtaù (NS Ch. 25 sl. 1) The peculiarity which (is required) from time to time in the use of gestures and words etc. and which has yet been left unmentioned is known as the Special Representation (citrabhinaya). 22 As observed earlier, the earlier chapters on angika abhinaya enlisted the limbs, the way they should be moved and their uses (viniyoga). But it is here that Bharata explains how the idea should be conjured up executing the hand gestures in a particular manner. Thus we have natural but somewhat abstract concepts of seasons, 22 Dr Manohar Ghosh, The Natyasastra, English translation. The Royal Asiatic Society of Bengal 1950 p

17 clouds, rain, planets, stars, moonlight, happiness and such others being represented through hand and other angas. It is essential to know the concepts of all abhinayas quite thoroughly for creating the right kind of theatrical presentation, which will succeed in creating the desired Rasanubhava or aesthetic relish in the spectator, which is the purpose of the dramatic art. 13

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