Abhinaya

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The Master At Work- A film about the authority of Abhinaya, legendary Kutiyattam artist (late) Guru Māni Mādhava Chākyār by Sangeet Natak Akademi, New Delhi. The film contains a detailed session on Rasa abhinaya by the maestro, where he enacts various Rasas in detail.
The Master At Work- A film about the authority of Abhinaya, legendary Kutiyattam artist (late) Guru Māni Mādhava Chākyār by Sangeet Natak Akademi, New Delhi. The film contains a detailed session on Rasa abhinaya by the maestro, where he enacts various Rasas in detail.

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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[edit] 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.

[edit] The Four Ingredients of Abhinaya

Abhinaya can further be divided into four categories, as set down by the Natya Shastra.[1]

[edit] 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.

[edit] 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.

[edit] 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.

[edit] Sāttvika Abhinaya

Guru Nātyācārya Māni Mādhava Chākyār performing Sāttvika Abhinaya (Sringāra Rasa)
Guru Nātyācārya Māni Mādhava Chākyār performing Sāttvika Abhinaya (Sringāra Rasa)

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.

[edit] Notes

  1. ^ Tarla Mehta (1995). Sanskrit Play Production. Motilal Banarsidass. pp.131-186


[edit] Further reading

[edit] See also

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