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Abhinaya is a concept in Indian dance and drama derived from Bharata's Natya Shastra. Although now, the word has come to mean 'the art of expression', etymologically it derives from Sanskrit abhi- 'towards' + ni- take, so literally it means a 'taking towards' (the audience), or 'transmission'.
Aside from its clear impact on dramatic tradition, it is used as an integral part of all the Indian classical dance styles, which all feature some kind of mimetic aspect to certain compositions, for example in depictions of daily life or devotional pieces.
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Lokadharmi and Natyadharmi Abhinaya
A principal division is that between natyadharmi abhinaya and lokadharmi abhinaya. The former is poetic and stylistic in nature, following a codified manner of presenting emotion and expression which pertains to the conventions of the stage, which appear to have greater 'artistry' by virtue of taking something from natural life and rendering it in a suitably stylised way. Lokadharmi abhinaya is the opposite: realistic and un-stylised, involving very natural expression and movement, as occurs in daily life. Often this is the more difficult as the possibilities for interpretation of an emotion or a line of poetry are endless.
The Four Ingredients of Abhinaya
Abhinaya can further be divided into four categories, as set down by the Natya Shastra.1
Āngika Abhinaya
This relates to the movement of the body, and how the thing to be expressed is portrayed by movement of the anga or limbs.
Vāchika Abhinaya
This relates to how expression is carried out through speech. It is obviously therefore more overtly used in drama, but also in music: in how the singer expresses the emotion through his or her singing.
Āhārya Abhinaya
This is expression through the use of external fittings, such as costumes, ornaments, lighting and make-up, which should all be complementary to the emotions expressed.
Sāttvika Abhinaya
This is the real natural emotion expressed as a result of being affected by an external event. The dancer or actor has to bring of their own experiences something which will be authentic and capture the audience and elicit an empathetic response in them.
An actor or dancer will use all these aspects combined in differing amounts to create a believable spectacle on stage.
Notes
- ^ Tarla Mehta (1995). Sanskrit Play Production. Motilal Banarsidass.pp.131-186
Further reading
- Chakiar, Mani Madhava (1975), Nātyakalpadrumam, Sangeet Natak Akademi, New Delhi
- Mani Madhava Chakkyar: The Master at Work (film- English), Kavalam N. Panikar, Sangeet Natak Akademi, New Delhi, 1994. Movie contains detailed Rasa Abhinaya by great maestro Guru Mani Madhava Chakyar.
- Parvati Viraham: Mani Madhava Chakyar as Ravana (film- English), Kavalam N. Panikar, Sangeet Natak Akademi, New Delhi, 1993. (features Guru Mani Madhava Chakyar as Ravana in the Pārvatī Viraham (separation of Pārvatī) in ancient classical Indian Sanskrit theatre tradition, Koodiyattam.
See also
- Nātyakalpadrumam
- Natyashastra
- Navarasa
- Rasa (aesthetics)
- Mani Madhava Chakyar
- Sanskrit Theatre
- Classical Indian Dance
Wikipedia content modification information:
- This page was last modified on 24 October 2008, at 07:29.
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