4 Abhinaya

Dr. Bhandaram Vani

As it is already said a drama portrays the mixed pleasures and pains of the three worlds when presented on the stage.

This message or purpose is conveyed to the audience through the Abhinaya. This is the only mode of communicating the dramatic experience to the Audience. Abhinaya is derived from the root ‘ni’ means to lead, to carry with the prepositions ‘Abhi’ means towards

(Abhipurvastu ‘nic’ dhaturabhimukhyarthamirnaye’ yasmatprayogam nayati tasmathabhinayah smritan’ NS VIII-6) hence the word Abhinaya because it carries the performance towards the audience. It can be interpreted as histrionic expression or conveying to the audience the mood and the nature of the play to achieve the purpose of the drama i.e. the realization of Rasa through four types of expression.

Abhinaya is the means to carry the poet’s content and its aesthetic and philosophical significance towards the audience. It employs the mode of direct presentation, visual and oral perception in virtue of the intoned speeches, gestures and movements, facial expressions and physical poses, costumes etc. There by it enables the spectators to be aware of the rich meaning that the poet’s words carry and take experience directly.

Thus Abhinaya is utilized as tool to realize the Rasa which is main purpose of drama. The physical movement, voice, emotional expression and make-up and costume are the artistic elements that attract the attention of psyche of audience and evoke appropriate Rasa. Drama adopts all forms of human nature and behavior in various incidents and situations and interprets it through imitation to the audience. The inherent nature of the actor is totally controlled by the character he has taken up to enact. This abhinaya- histrionic expression is four-fold Angika, Vacika, Aharya and Sattvika. When the sentiment is evoked from the actions of the limbs from head to toe is Angikabhinaya (physical gestures). Which is expressed in three ways as anga, pratyanga and Upangas of the body. The sentiment is evoked through proper pronunciation, modulations, accent, song, rhythm is known as Vacikabhinaya (verbal). When dressing, make-up, ornaments lead towards sentiment it is known Aharyabhinaya, which is four-fold Pusta (the model work), Alamkara (decoration) Angaracana (painting of body) and Sajijva(living creatures) when the histrionic expression depends on Sattava (the temperamental state of mind is known as Satvikabhinaya. In additions to these four types Abhinayas, Bharata describes two more Abhinayas one is Saamanyabhinaya that which incorporates special features of angikaabhinaya,vacikabhinaya and saatvikabhinaya and the second is Chitrabhinaya that deals with physical gesture conveys the idea through symbolic representation.

Angikabhinaya (dealt in seven chapters of Natyashastra 4, 8-12 and 25) is expression of ideas through the movements of various parts of the body thus portrays the emotions. Except Aharyabhinaya (Make-up and costume) the other three histrionic expressions (Angikabhinaya, Vacikabhinaya and Satvikabhinaya) result from the body, speech and mind. Angikabhinaya attains prominence in the dramatic representation as Vacikabhinaya is understanding the meaning of the play through words and it can only adorn or perfect the physical gesture. Satvikabhinaya is the expression motivated by mind has to result in appropriate physical gestures, facial expressions only, hence in the art of representation Angikabhinaya is principal. The parts of the body that are involved in movements and gestures are divided into three categories as Anga (Major Limbs), Upanga (Minor Limbs), Pratyangs (Subsidiary Limbs). Head, Hands, waist, chest, sides and feet are known as Angas (Major Limbs) Eyes, Eyebrows, nose, lower-lip, cheeks and chin are known as Upangas (minor limbs) Shoulders, upper arms, stomach, thighs, shanks, wrist, knees, elbow, neck etc. are considered as Pratyangas (Subsidary limbs) were not specially mentioned by Bharata, but described the nature and use of most of them.

Major and Minor Limb’s movements and gestures are again divided into three categories as  Mukhajabhinaya – Expression with face is the movement of various minor limbs of the head.  Sarirabhinaya – Expression of the body is the co-ordinated expression through a particular main limb. Chestakrita – Expression through the movement of the entire body like walking, standing etc. Sarirabhinaya has three aspects again – Sakha, nritta and Ankura. Sakha consists of various poses of hand, Nritta is based on the dance units and postures etc and consists of Karanas and Angaharas. Ankura consists of the meaning of the previous passages and anticipates the meaning of the passage that follows and where drishtis are important.

Bharata starts explaining physical gesticulation with Head as is the major limb and facial expressions are the basis for emotions and sentiments treats the movements of Head the major limb along with its minor limbs.

Bharata deals with mukhajabhinaya which represents head, face and neck of a human body as Sirahchests-head movement is of thirteen types depending on the direction in which the head moves. Dhrishtis-glances are described as thirty six corresponding to sentiments and states. 1.Rasadrishti-glances of sentiment (eight), 2.Sthayibhavadrishti-representing permanent state, 3. Vyabhicharabhavadrishti-related to the expression of transitory mood. Tarakarma–the disposition of the pupils in expression is of nine varieties, Drishti (darshana)-eight more expressions of pupils in looking at objects, putakarma– expressoion with eye-lids that generally follow the movement of pupil is of nine varieties.Bhrukarma-expression with eye-brows is of seven verities which follows the movement of pupil and eye-lids.six types of gestures of Nose or rather nostrils (Nasa karma), six types of movements of cheeks (Ganda karma), six types of movements of Lower-Lip (Adharakarma), six types of movements of chin (chibuka karma) (the movements of teeth, lips and tongue and pertains the movements of chin) six types of movements of face (aasyachestas) four colours of the face, nine movements of the neck (Grivakarma).

Thus Bharata describes the Head along with it’s the minor limbsconnected with the facial gestures. Although the colours of the face are part and parcel of expression through the body, they have special important in producing correct expression and to provoke the proper sentiment. All the gestures of various limbs shine with facial colour, like the quarters shine with the moon light, enhance dramatic values.

Various types of the movements of the limbs is known as Sarirabhinaya wherein it is not necessary for the entire body to move. But in chestakritaabhinaya the body has to move. Chestakrita is again to types,  Gatiprachara expressive movement and Nritta – rhythemic movement of the body. Gati prachara defines the modes in which the character has to stand, sit, walk, and lie down as per the situation or the emotion demands. So as to evoke proper sentiment. Nritta enhances the beauty of the play accompanied by instrumental music.

In the sarirabhinaya Hand gestures are very important. Bharata explains 12 Asamyuta Hastas – Single hand gesture, 13 Samyuta Hastas – both hand gesture or conjoined hand poses and 30 nritta hastas (ornate hand gestures or dance hand poses. The 24 single hand gestures require the use of one hand only, however the second hand is used for expressing an uncombined state. There gestures accompany eye, eyebrow movement, upanga and pratyangas to express Rasa and Bhava. These hand poses should be close to the body and move near the head incase of superior things like God etc. The hand poses should be further away from body and placed over the chest in case of standard things and at a distance and are lower down in case of interior things. These are infinite in number since the objects to be represented are infinite. They must be chosen from the nature and can be created or codified from the ways of the world. (NS IX – 163-175). The use of hand gestures and movements is prohibited in sadness, swooning, shame, grief, weakness, intoxication etc. (NS IX – 177-180). The richness of these hand poses create a unique dramatic language and their conventionalized meaning and symbolism lends an added charm to the art of dancing. After dealing extensively with Asamyuta, Samyuta,Bharata gives 20 types of Hasta karmas, general action with the arms in histrionic expression to produce various emotions, 4 Hasta Karanas – Hand gestures (These should not be confused with 108 Karanas, these Karanas depend on the movement of fingers), 10 Bahu Karanas – the movements of arms, 5 types of Parshwa Chesta

–   Expression with the sides, 3 types of UdaraChesta – Expression with the belly, 5 types of Katichesta Expression with the waist, 5 varieties of Uru Karma – Expression with the thighs, 5 varieties of JangaChesta – Expression with the shanks, 5 types of Padakarma – Expression with the feet. There should be a synchronized movement of the foot, the shank, and the thigh to express the intended action fully.

When the movements of the waist, the thigh, the shanks and the foot correlated purposefully it is called Cari – the foot work. They are two kinds Bhaumi Cari – the feet are placed on the ground completely, Akashiki Chari – one foot or both of them are raised above the ground and each is of them are of16 varieties. The combination of a number of Cari is called as Mandala 10 Akashagata Mandalas. 10 Bhaumigata Mandalas, depending on the predominance of the form of Cari.. Hand poses and foot-work must correlate with the movement of all the Upangas and Pratyangas. Depending on the situation and propriety hands may lead, or lag behind or follow the movement of foot. At the end of movement feet should rest on ground after Cari movement and hands on waist after the movement is completed.

Chestakritabhinaya is the expression of the entire body following the stage movements which are indicative than real. The conduct on the stage, movements of men and women of superior, medium and interior categories depending upon their age, entry, and exit and other stage movements to pertaining to Rasa are described. Artificial gesticulation of Vita, Vidushaka, Kanchukiya, stout, lame, crippled, dwarf, animals and birds are dealt. Bharata explain 6 Sthanakas – postures of men used in action in different situations, 3 Sthanakas of women – postures of women in action and in taking to others and 6 Sthanakas- postures for men and women while reclining. Thus Bharata detailed the postures of women and men which standing, sitting and reclining following the emotions and the state in which the character are. These postures are to be taken before a movement starts and given up when movement is on. But at every step Bharata pointed out that any movement and gesture or posture should be incorporated by observing the ways of the world.

Samanyabhihnaya – General histrionic expression consists of Angika, Vacika and Satvika types of histrionic expression. This has been classified into 6 categories. Where in speech and action may be done simultaneously or one may proceed the other.

Chitrabhinaya – Particular expression is related to hand movements. Bharata explains how each hand gesture will convey itself to indicate different meaning and also a particular idea is expressed in co-ordination with hand gestures in addition to the earlier treatment.

VACIKABHINAYA –expression by Speech (dealt in chapters14-19 of Natyashstra) is the vocal presentation of words and is the basic structure for building up the drama. Angika, Aharya, Satvika abhinaya are interpreted by speech. Nothing is superior to speech and everything is under the control of speech. It represents not only actor’s skill at delivering the dialoguesbut it also exhibits the dramatist’s mastery at using the correct language.Along with carrying forward the theme, it paves a path to understand the feelings and emotions of the characters. The difference in pronunciationmay cause change of in meaning which would be out place, time and situation. All sastras or ̳sciences are given form in words and are controlled by them. Therefore, there is nothing that is superior to speech and it is the basis of all activities (tasmaadvachahparamnaastivaakkhisarvasvakaaranam.Natyasastrach.XIV 2-3). Ungrammatical word,wrong pronunciation and punctuation, unimpressive utterance will not be able to get the effect fully communicated.Hence Vacikabhinaya – Expression of speech has to be carefully exploited.

The various branches of vachikabhinaya (language, speech and voice) are treated by Bharata in the perspective point of the author and the actor. They are (1) Bhasha bheda –

Languages and its regional variation, 2 Vyakarana – grammar, (3) Chandhah- Prosody, (4) Lakshana – poetic embellishment, (5) Alankara – figures of speech, (6) Guna – merits (7) Dosas – demerits (8) Samabuddi vidhana – form of Address (9) Nama vidhana – naming the characters (10) Kaakuswara Vyanjana – modulation in voice and (11) Virama – pause.

• (1) Bhashabheda is of 4 categories Atibhasha (of Superhuman), Aryabhasha (of noble) Jatibhasa (of commoner) and Yonyantari bhasha (of animals & birds).the languages are divided into two types Loukika samskrita and Prakrita. Again Prakrita is two types Bhasha and Vibhasha. Bhasha has seven variations Magahdhi, Avanti,Praachya, Sauraseni, Arthamaghadhi, Baahilaka and Dakshinatya and Vibhasha has seven variations like Sakari, abheri,Candali,Sabari,Dramidi,Andhri and Vanauksi pertaining to different regions on India.
• (2) Grammar – knowledge of consonants and vowels, parts of speech Nama – noun, Akhyata – verb, ripata – adverb, upasarga – preposition, pratyaya – terminations, taddita – nominal affix, vibhakti – case, linga – gender, sandhi – conjunction of words and samasa – compound words.
• (3) Chandas–prosody that is the number of letters in each line of a four lined Vritta (poem) may vary from 1 to 26.There are three types of Vrittas 1.Samavritta-all four lines have equal Ganas (a unit of three of letters) 2.Arthasamavritta-one and three lines have equal units and two and four have equal units, 3. Vishamavritta-all four lines have different units.The permutation and combination of the number of letters may offer as many as 134217726 various metres .But Bharata restricted the usage of metres in drama to 70.
• (4) Lakshanas-embelishments rather characteristics are 36 types like Vibhushanam-ornateness,Akshara samhati-compactness, shobha – brilliance, Udaharana – parallelism, Hetu-causation, Samasya- hesitation, Drishtanta – favourable precedent, Praapti-, attainmentetc are found in creative works of genius authors , which follow the emotions, the determinants the consequents and transitory emotions.
• (5) Bharata explained Alamkaras-the figures of speeches four of them (1) Yamaka – alliteration (dependent on sound) (2) Upama – Simile (3) Dipaka – illuminative usage and (4) Rupaka – Metaphor (dependent on meaning) which have to flow in the play or poem unobtrusively to enhance its poetic beauty.
• (6) Dosas – ten main demerits are explained that should be avoided. (1) Gounartha – obscurity, (2) Arthantara – digression (3) Arthahina – meaninglessness (4) Bhinnartha – obscurity (5) Ekartha – tautology (6) Abhiplutartha – incoherence (7) Nyayaopeeta – illogicality (8) Visama – anomaly (9) Visandhi – Hiatus and (10) Subdachyuta – slang.
• (7) Guna – The merits are enumerated by Bharata are ten. (1) Slesha – double meaning(2) Prasada – obviousness, (3) Samata – Balance, (4) Samadhi – ten senses (5) Madhurya – Sweetness (6) Ojas – grandeur (7) Soukumarya – delicacy (8) Arthavyakti – directness (9) Udarata – exaltedness (10) Kanti – brilliance.
• (8) Sambuddhi – Pertains to the forms of address by superior, medium and inferior to each other in the drama.
• (9) Nama Vidhana – Names are to be given to the respective characters should indicate the nature of such character.
• (10) KakuswaraVyanjana – Modulation of voice has six characteristics. 1. Svara – seven musical notes, 2. Sthana – the three points of origin of sound, the chest, the throat and the head and three pitches – mandra – the low, madhya – the medium and tara – the high. 3. Varna – four modes of intonation, Udaatha – the bold, Anudatta – the nosonal, Svarita – circumflex and Kampita – the vibrating. 4. Kaku – variations in inflexion is of two kinds Niraakanksha kaku – plain inflexion, Saakankshakaku – implied inflexion 5. Alamkara – the modes of enunciation is of six kinds Ucca – high, dipta-bright, mandra – the base, niica – the low, druta – the fast, vilambita – the dilated and 6.Anga – the modes of rendering the speech has six processes, (a) Vicceda – the punctuated, (b) Arpana – the pleasant (c) Visarga-the disinterested, (d) Anubaddha – continuous, (e) Dipana brilliant and (f) Prasamana – following. Kakuswara vyanjana primarily based on Svaras and its rendering reveals the intended text and toindicates the emotions and to create Rasa.
• (11) Virama – pauses are very significant feature in the proper rendering of speech. Wrong pronunciation interruption of the metre and misuse of pause should be avoided.

There are 19 processes like Sallapa-dialogue, Aalapa-address, Pralapa –prattle, Vilapa-lament, Anulapa-repition, Apalapa-alteration of words, Sandesha-message , Atidesha-agreement, Nirdesha-indication, Vyapadesa-pretext, Upadesha-instruction Apadesha-quotation, Pratyaksh-in the presence, Paroksha-in the absence, Bhoota ,Vartamana, Bhavishya kalika–past present and future, Aatmastha ,Parastha-pertaining to self and others are involved in rendering good speech have been explained by Bharata in the Chapter XXIII in Natya Shastra. Pertaining to Chitrabhinaya – seven particular expressions like Aakahsa vacana-speech from behind the curtain, Aatmagata-sololquy, Apavarita-exclusive speech, Janantika-aside, Karnokta-whisper, Punarukta-repitition Swapnayita-talking in sleep, and Marana-death have been explained in Chapter XXV by Bharata in Natyashastra.

In a dramatic presentation proper usage of language and utterance of words with voice modulation is utmost priority. Hence Bharata says “a play abounding in sounds and sense containing no obscure and difficult words intelligible to ordinary people fit to be interpreted with dances ,developing sentiments by many characters and having suitable junctures and their union becomes fit for the presentation to the spectators ” NS XVI 129

AHARYABHINAYA–Expression through make-up and costume (dealt in one single chapter XXI) We know that Drama is the imitations of human behiaviour. Which is are expressed through the bbody, words and the mind. These three aspects are called as Satvika, Vacika and Angika with reference to Histrionic expression. Make-up and Costure (Aharyabhinaya) although a separate entity, but as soon as the character appears on the stage the physical form, Make-up, costume attracts the audience. If the physical form of the character is achieved, it will be easy to achieve success of the production. Through the make-up and costume audience will be given a clear picture of the nature, nativity, and state of mind of the character even before other three histrionic expressions are commissioned. Then the movements, speech and responsive emotions follows and can easily achieve the purpose i.e. evoke Rasa. The Make-up and costume has four aspects that are done behind the curtain as explains Bharata. (1) Pusta – stage construction (2) angaracana – making up the face and body with grease paint (3) Alamkara – decoration and (4) Sanjiva – moulding living creatures.

1. Pusta – set construction is done in three ways. Sandhima-joined is preparing necessary objects with pulp, bamboo, cloth, mat etc. Vyaajima-mechanically devised that is Animation of objects, Veshtima-wrapped is creating an object like carriage, trees elephants etcwith drapery.
2. Angaracana – painting of the body and face with natural, mixed and minor parts and colours is called Angarachana White, blue, yellow and red are the fundamental colours. After painting the face whiskers, Moustache, it should be stuck to men, various hair-styles and ornaments to women indicating the character should fixed.
3. Alankara – decoration of the various parts of the body with flowers, jewels, ornaments, clothes is known as almkara. Bharata described various jewels worn by women from top-to toe which are of four types, Avedhya-to be pierced ear ornaments like Bandhya-to be tied waist band like, Kshepya-to be put upon anklets like ,Aaropya-to be put round the neck necklaces like.
4. Samjiva – The living creature which should be moulded are of three types four legged animals, two legged (birds and humans) and non-legged snakes etc.

The make-up, costume, speech etc. of all inanimate object should follow the Natya Dharmi (the conventional school).

SATVIKABHINAYA – Bharata gives the foremost place to Satvikabhinaya for all actions and emotions are motivated by mind. The prominence is given due to the peculiar mental effort which is necessary for their presentation. Whatever may be the actual condition of his (actor’s) own mind, he must be able to produce appropriate physical reactions, facial expressions, voice intonation in order to convince the audience. Such a piece of acting cannot be completely realistic unless the actor lives in the role and not merely playing it. A show of emotional acting may be produced by virtue of training aids and tricks. But a superb stimulation of emotion demands a full concentration on the part of actor. According to G.K.Bhat (Bharatanatyamanjari P XC II Introduction) it is Satva the histrionic expression which depends on Sattva is called as Satvikabhinaya – expression through responsive emotional reactions. The author with the help of Satva brings upon himself the experience of the pleasures and pains of a character he is creating and incorporates them in his work. The actor in turn with the usage of major and minor limbs combined with satva depicts the necessary sentiment hidden in the given lyric, situation and incident.

As a matter of fact all the actions are created by the Satva alone. Satva is the state of mind which is generally imperceptible but made perceptible with histrionic expression. If satvikabhinaya predominates the dramatic representation, it becomes superior. In the mediocre drama if all four histrionic expressions take equal share, when other expressions dominate them the drama is called inferiors. (NatyamSatve Pratishtitam – NS XXII 1,2) (Avyakta roopamhi Satvam) NS XXII 3.

A woman in her full youth and a man with heroic physique do have some changes or manifestations which give a special significance in representation are called as Almkaras. These Alankaras are of three types Gaatraja – Physical, Svabhavaja-natural and Ayatnaja – involuntary. The physical graces are accomplished by bhava – emotion, haava – interrupted excitement and hela – sustained excitement arise from one another being different facets of sattva. Among them Natural Graces are ten – Lila – sportiveness, Vilasa – graceful, Vicchitti – indifferent decoration enhancing the grace, Vidharma – excitement, Kilakinchita – mixed feeling, Mottaayita – manifestation of love, kuttamita – pretenses of dislike, bibbooka – affected indifference, Lalita – graceful actions and Vihrita – reservedness. Ayatnajalankaras are seven, Shobha – beauty, Kaanti – charm, Diipti – brilliant, Maadhurya – sweetness, Dhairya – steadiness, Praagalbha – composure and Audarya – Courteous bearing. These are the involuntary graces pertain to women. There are 8 graces of men – Shobha – beauty of character, Vilasa – graceful bearing, Maadhurya – self-possession, Sthairya – steadiness, Gambirya – composure, Lalita affability, Audarya – equanimity and Teja – intolerance of any form of insult.

The physical graces (gatraja) are inherent in an individual and present themselves at the time of attainment of youth. The natural and involuntary graces are based on Bhava and Rasa and caused by Vibhavas – the determinants. The natural graces are exhibited with sthayibhavas like Rati (love) etc., involuntary graces manifest themselves as they are natural characteristics.

Thus Drama is being an imitative art the inherent nature of the actor in controlled by the thought process of the character which he has taken up to enact on the stage. It is the representation (anukarana) of the ways of the world involving various emotions and in different circumstances. The dramatic presentation of a literary work depicting the pains and pleasures of the world as close to natural behaviours possible is called Lokadharmi, the second aspect is called Natyadharmi which depends solely on Abhinaya-the histrionic expression. While character fitness, devoid of graceful movements, appropriate style are the major concerns of Lokadharmi, music, instrument, Aside Mountains vehicles etc are the key points in Natyadharmi. The schools of acting (dharmis) are related to Angikabhinaya, modes of expression (vritti) to Vachikabhinaya and Satvikabhinaya and Regional identity (Pravritti) to Aaharyabhinaya. Thus the four aspects of histrionic expressions, Angika, Vacika, Aharya and Satvika are harmoniously blended in the Drama, attracts audience and brings the play with its meaning and feeling to the spectator.

The Indian philosophy believes life in its continuity and there is no end even after death. Hence Indian theatre presents life in idealistic term as it should be with four-fold Abhinaya.