Dharmi - the mode of presentation in Natya!

– Natyashastra (Slokam112)

Natyashastra, the most authentic treatise on dramaturgy, has defined Natya as "Lokavruttanukaram Natyam". The verse (in the sloka) implies that Natya is the imitation of the real-world and an impression of the day-to-day experiences of the people. Natyashastra, therefore, prescribes various mechanisms – Dharmi being one such example – to emote the material world. 

Within the realms of Natya, Dharmi deals with the mode of representation and performance aspects. Dharmi (and therefore Natya) can be represented via two modes –the realistic mode and the dramatic mode. While Lokadharmi deals with realistic representation, Natyadharmi attempts to portray a dramatic representation of the subject matter. Both are equally important aspects of Abhinaya, and therefore Natya.

Now let’s examine Lokadharmi concept in brief. Lokadharmi has different characteristics – one, it represents the natural way of acting, the other, it does not include any stylised hand gestures (Hastha-abhinaya) or exaggerated gaits (Gati). Therefore, Loka dharmi represents worldly objects and emotions realistically, thus eliminating the use of complicated acting.

Today, classical dance forms such as Bharatanatyam and Kuchipudi leverages on techniques from Lokadharmi so as to entice the ordinary spectators as they are ignorant of the stylised gestures.  Also, today's dance forms deal with a lot of contemporary themes for which 'Loka-dharmi' is best suited and awe-inspiring.

Now let’s delve into Natyadharmi concepts. Natyadharmi is a highly stylised mode of presenting a theme. It involves preconceived movements, makes the best use of hand gestures (Mudras), exaggerated facial expressions, stylised gaits (Gatis) and postures (Sthanakas) in a production.

Natyadharmi is well imbibed into the traditional theatrical forms like Koodiyattam and Kathakali. Acting techniques such as ‘Pakarnnattam’ comes under this mode of acting. In Pakarnnattam, one actor enacts the role of different characters of the story without changing the costume by using zonal division of stage effectively.  Also, the stylised Natyadharmi' can be best suited for the presentation of mythological episodes.

On another note, it is interesting to note that Lokadharmi mode of acting is used in the highly stylized Koodiyattam, especially when the actor does the role of the Vidhushaka. Although Lokadharmi represents the natural mode of acting, it is worth noting that it requires a certain level of stylisation in Natya, as it comes under the "classical" genre.

To sum it up, in today's scenario both Natyadharmi and Lokadharmi techniques are used together in most of the dance forms. Also, both these techniques help enhance the enactment and complement each other’s effort. To that end, while both are distinct, they are inseparable when it comes to the performance aspect of the classical dance. Together they form the ‘Divine Twins’ of Dharmi, and therefore the Indian Classical Dance.  

*****************************************************

References 

• Natya Shastra – Translated by N.P Unni.

• Natya Shastra, by Board of Scholars

• Mohiniyattam the lyrical dance – By Kanak Rele

Author: Anju Peter, Nrityankanam

Courtesy: Reva University & all my Gurus who inculcated art in me.

Picture courtesy: Pinterest

#A Blog for  Indian Classical Dance Mohiniyattam, and Mohiniattam.

Abhinaya - the four fold acting technique!

   "आंगीकम भुवनम यश्

वाचिकम सर्व वांमय

आहारीयम चंद्र तारादी

तम नुम्ह सात्विकम शिवम"

-Abhinaya Darpana.

Abhinaya – its introduction & various classifications

In this blog, I wish to invite your attention to one of the fundamental concepts of Indian classical dance. i.e., the 'Abhinaya' & its various classifications. I hope it will help art connoisseurs understand the concept & expand their learning curve.   

From an etymology standpoint, the 'Abhinaya.' originates from the following Sanskrit words- 'abhi' means 'towards' and 'ni' (naya) means 'guide' or 'lead'. Thus, we can interpret the word 'Abhinaya' as an act of guiding the spectator towards the theme. 

While different art forms use various methods to communicate a theme, the Indian classical dance uses the four stratified elements — body movements, music, costumes, and inner emotions — to express the same. This quadrupled stratification of Abhinaya is collectively known as 'Chathurvidha Abhinaya'. Individually, they are known as Angika, Vachika, Aharya and Sattvika, respectively.

Let's have a brief understanding of each one of them.

Angika Abhinya – The Vital parts of Natya!

                                          

Angika Abhinaya is the art of expression through body movements. It is represented through various postures and gestures. Natyashastra- the earliest text extant on dramaturgy- divides the body movements as 'Sharira', 'Mukhaja', and 'Cheshtakrta'. While 'Sharira' is about the movement of major limbs- the 'angas', 'Mukhaja' is connected with the movements of minor limbs on the face- the 'upangas'. And finally, 'Chestakrta' is associated with the movement of the body in general.

The later medieval treatises such as Abhinaya Darpana and Sangeetha Ratnakara has added one more classification, and that is movements of 'Prathyangas'- other body parts connected to major limbs. In short, the aesthetic, stylised movements of the anga, upanga, prathyanga, called Ankiga Abhinya forms the vital parts of Natya.

Vachika Abhinaya – the better half of Natya!

Vachika abhinaya is the art of expression through verbal communication to the audience. It makes use of verbal speech or music to communicate the theme to the spectator. While the speech is used in theatrical representation, dance uses music & lyrics.

In the traditional theatre art forms such as Koodiyattam and Thullal, the actor himself recite slokas in Sanskrit or vernacular languages.  In the case of classical dance, the dancer generally does not directly participate in Vachika Abhinaya except in certain Kuchipudi styles. For classical dance, the Vachika Abhinaya is carried out by the musical accompaniment.

Thence, in classical dance realm, the Vachika abhinaya plays an equally important role by graduating itself to the role of a better half. 

Aharya Abhinaya – The grandeur associated!

Aharya Abinaya is the representation of the character through costume, ornaments and makeup. Also, it includes stage decorations and arrangements. It must be noted that all classical dance forms are considered to be 'Ekaharya' wherein a single dancer takes up different roles and enacts the story without a change in costume or makeup.

In the case of theatrical representation, the Aharya can be based on the theme, and the character played. For example, Kathakali uses different makeup such as Pacha, Kathi, Kari, Thadi, Minukku to suit the characters. These makeups bring richness to the otherwise well-established art form of Kathakali, making it one of the highly circulated art forms in visual media. Thus Aharya helps establish the grandeur of any art form, thus giving a visual treat for the spectator. 

Sattvika Abhinaya – The soul of Natya!

Sattvika Abhinaya is an involuntary physical response to an emotion. It originates from the deepest mind of the dancer.  When the mind reaches a certain level of concentration, emotions get manifested. Examples of above are shedding of tears, horripilation, sweating out, facial colour change (robust for anger perception), and et al. These get ensued during various stages of the enactment. Therefore, Sattvika Abhinaya is a psycho-somatic representation, emerging from the actor's mind, and thus forms the soul of the Natya. 

Chathurvidha Abhinaya – Its praxis.

It must be noted that the application of the Chathurvidha Abhinya varies for different art forms and carries heavy regional influences. Case in point, the Tribhanga poses of Oddisi is inspired by the sculptures found in temples of Orissa. Likewise, the graceful sway of the torso in Mohiniyattam resembles the undulating movements of paddy fields & wafting of coconut fronts in the evening breeze, commonly found in the countrysides of Kerala. In general, Chathurvidha Abhinaya is influenced by socio-economic, political, cultural and geographical aspects of the regions from where they originate. 

Abhinaya – In conclusion

All in all, Abhinaya plays a vital role in Indian classical dance. Also, when the stratified elements of Chathurvidha Abhinaya – Angika, Vachika, Aharya, Sattvika Abhinaya – work in perfect harmony, the theme gets communicated well to the audience. Thus, Abhinaya lays the solid foundation for any classical dance forms, as it leads the audience to the blissful feeling of Rasa.

*************************************************************

References 

• Natya Shastra – Translated by N.P Unni.
• Natya Shastra, by Board of Scholars
• Abhinaya Darpana – Translated by Manmohan Ghosh
• Sangita Ratnakara of Saranga Deva  - Translated by Dr K. Kunjunnu Raja and Radha Burnier, Published by Adayar Library
• Mohiniyattam the lyrical dance – By Kanak Rele
• Classical Indian Dance in Litterateur and arts – Kapila Vatsyayana

Author: Anju Peter, Nrityankanam. 

Courtesy: Reva University & all my Gurus who inculcated art in me.

Picture Courtesy: Internet. 

Bhava - the exposition of emotion!

यतो हस्त ततो दृष्टी, यतो द्रष्ष्ट ततो मनः,

 यतो मनः ततो भाव, यतो भाव ततो रसः

                        – Abhinaya Darpanam 

                                            

In this blog, I wish to explain the concept of Bhava and its role in the context of Indian classical dance. To begin with, let me explain the term Bhava. In simple terms, Bhava is the emotion expressed by the artiste. In other words, Bhava is that particular state of mind attained by the performer during an enactment. In Natyashastra, Bhavas are classified into three broad categories - Sthayi, Sanchari (Vyabhichari), and Sattvika. There are eight Sthayi bhavas, thirty-three Sanchari bhavas, and eight Sattvika bhavas. Hence there exist forty-nine bhavas. 

Sthayi Bhava – The permanent emotion! 

Sthayi Bhava is the permanent mood of the act. In order to attain this permanent mood, there are various other factors which contribute. However, it is Sthayi bhava which gets translated as Rasa in the spectator. The eight Sthayi bhavas as depicted in NatyaShstra is as follows - Rati(love), Hasa (Laughter), Shoka (sorrow), Krodha (Anger), Utsaha(energy), Bhaya(fear), Jugupsa(disgust), and Vismaya(astonishment). 

Sanchari Bhava – The auxiliary emotions!

The Sanchari bhavas are the transitory moods, the auxiliary state of emotions that strengthen the permanent mood (the Sthayi). They serve as the building blocks for the establishment of Sthayi Bhava in an act. 

For Example, to establish Rati Bhava (love) in the Nayika (Heroin), who is expecting her beloved’s arrival, the following situations can be used. We can portray a beautiful Nayika, decorating her room with flowers, adorning herself with ornaments and admiring her beauty in the mirror. In the above-described scenes the Nayika goes through various temporary emotions such as joy, desire, shyness, eagerness, and anxiety. These transitory emotions are called Sachari Bhavas through which the Sthayi bhava is developed. Such established Sthayi bhava in the protagonist gets translated as Rasa in the audience. Natyashastra advocates thirty-three Sanchari bhavas.

Sattvika Bhava – The true inner emotions!

Sattvika Bhava is the involuntary physical response to an emotion. For Example, change in facial colour while expressing Anger, experiencing horripilation while emoting fear and shedding tears of joy during ecstasy, etc. Any mental emotion can be physically manifested only when the actor emotes with the utmost involvement and concentration. By emoting through Sattvika abhinaya, an emotion gets conveyed to the spectator easily. 

The eight Sattvika bhavas enlisted in Natyashastra are - Stambha (Stupefaction), Sveda (Perspiration), Romancha (Horripilation), Swara-bheda (Affliction in the voice), Vepathu (Tremor), Vaivarnyam (Changing of the colour of the face), Ashru (Shedding tears) and Pralaya (Unconsciousness).

Rasa and Bhava - the serene relationship!

In the context of Indian classical dance, Rasa and Bhava are two terms often used interchangeably. Are Rasa and Bhava the same? Is there any connection between them? 

As we have understood, Bhava is the emotion expressed by the actor. And, Rasa is the aesthetic flavour of the Bhava experienced by the spectator. In other words, Bhava emoted by the actor is translated as a blissful experience of Rasa in the spectator. 

When the Sthayi Bhava is created in a play, adequately supported by Sanchari Bhavas and emoted with Sattvika Bhava, it will get translated as Rasa in the spectator.

Natya-Shastra advocates eight Rasas(sentiments) corresponding to eight Sthayi bhavas. They are - the Erotic (Sringara), the Comic (Hasya), the Pathetic (Karuna), the Furious (Roudra), the Heroic (Vira), the Fearful (Bhayanaka), the Odious (Bibhatsa), and the Marvellous (Adbhuta). Later, philosophical and aesthetic theorization by Abhinava Gupta has resulted in the inclusion of the ninth Rasa - the Shanta Rasa. Thence the expression “Navarasa” came into existence!

In a nutshell, we have understood that both Bhava and Rasa maintains a strong bond between them. Natya-Shastra says, If Bhava emoted is not translated to Rasa, that act is meaningless. At the same time, no rasa is devoid of Bhava. Hence, Rasa-Bhava points to the serene relationship established between the spectator and the actor in Indian aesthetics. 

References

----------------

Sangita Ratnakara of Saranga Deva  - Translated by Dr K. Kunjunnu Raja and Radha Burnier, Published by Adayar Library

Natya Shastra, by Board of Scholars
Natya Shatra,  by N.P Unni

Courtesy – School of Performing Arts, Reva University

Picture Courtesy – http://www.nalandadanceeducation.com/

Author: Anju Peter, Nrityankanam

A Blog for  Indian Classical Dance Mohiniyattam, and Mohiniattam.

******************************************************

---

Rasa - the aesthetic flavor of Natya!

Rasa is one of the most discussed terms in Indian aesthetics. It is the underpinning of all Indian Art forms. In this blog, I wish to introduce the concept of Rasa and the parameters related to the same. 

The term Rasa can be roughly translated as the aesthetic flavour of art.  Rasa is that aesthetic flavour which can be relished. Like how one can relish the taste of a delicacy, one should be able to enjoy the aesthetic elements in art. Who enjoys the aesthetic beauty of art? In the context of Indian classical dance, it is the spectators who enjoy it. Hence the term Rasa can be roughly translated as the aesthetic pleasure created in the spectator. The aesthetic experience created in the audience is called 'Rasanubhava'.

How a dancer invokes the 'Rasanubhava' - the aesthetic experience in the audience? To achieve this goal, Natya Shastra enunciated a sutra- a formula, the famous Rasa-Sutra of Natya Shastra!

"Vibhava Anubhava Vyabhichari Samyogat Rasa Nishpattih" - Chapter 6 (Rasavikalpa)

It says that the combination of 'Vibhava' and 'Anubhava' together with' Vyabhichari Bhavas' produces Rasa. Let us try to understand the meaning of Rasa-sutra in detail.

For an actor to emote any sentiment, there requires a cause. And the reason behind every action is called 'Vibhava'.  Hence, Vibhava is the term used to represent 'Hetu or Karana', and it is of two types -'Alambana' and 'Uddipana'. 'Alambana' is the direct cause. 'Uddipana' is the situational factor that helps enhance the impact of the former. Let us take an example of a plot depicting the plight of an old woman. Here, the direct sight of the character - the frail old woman on stage is the 'Alambana Vibhava'. And when she is represented on stage sitting inside a thatched hut with unkept surrounding reminiscent of neglect and poverty, that is 'Uddipana Vibhava'.  

'Anubhava' is the following action of 'Vibhava'. In other words, it is the physical manifestation of 'Vibhava'. Referring to the previous example, when the old lady lying in a thatched hut is represented in stage though sighs and lamentations, the emotion gets clearly communicated to the audience.  Hence, the physical reactions which follow 'Vibhava' –are referred to as 'Anubhava'. 

'Vyabhichari' bhavas are the transitory emotions which come and go throughout the act. As these temporary emotions keep playing, it helps build the permanent emotion - the 'Sthayi Bhava' in the act. Referring to the previous plot as an example, we can bring flashback scenes depicting various emotions. The scenes can be as follows. The joyful scenes of upbringing her single child showing various stages of his growth. The sorrowful scenes depicting the plight of a mother when she loses her son. As the story is revealed, many emotions get played according to various situations. And finally, these transitory emotions help build the Shoka bhava (Sthayi bhava) in the act. 

When the spectators watch this performance, they get unified with the character and therefore the Sthayi bhava. As the audience enjoy the Sthayi Bhava, it gets translated as a blissful experience of Rasa in them. This process is known as Rasa Nishpattih as given in the Rasa-sutra. As we refer to the previous example, the 'Shoka bhava' gets translated as 'Karuna Rasa' in the audience.

As we are analyzing, it is interesting to note that the Rasa-Sutra of Natya Shastra does not specify the role of Sthayi Bhava in the process of Rasa realization. The importance of Sthayi Bhava is brought out through the interpretations of scholars such as Bhatta Lollata, Sri Shankuka, Bhatta Nayaka, and Abhinava Gupta in the later centuries. 

In a nutshell, Rasa is that experience when at a given moment, no other reality exists but that of the art, the spectator and the artiste will become one in spirit. 

References

----------------

Natya Shastra by Board of Scholars

Natya Shastra by N.P Unni

Courtesy: Reva University & all my Gurus who inculcated art me. 

Picture Courtesy: Images from the Internet. 

Author: Anju Peter, Nrityankanam, Hyderabad, India 

A Blog for Mohiniyattam, Mohiniattam, and Indian Classical Dance 

# മോഹിനിയാട്ടം, ഭാരതീയ നൃത്ത കലകൾ, നാട്യശാസ്ത്ര, നൃത്യാങ്കണം