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  • Abhinaya Darpan pt1

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    Naren Sundararajan
    47 visualizações58 páginas
    first instalment of the abhinaya darpan for basics of postures and gestures in bharatnatyam

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    abhinaya_darpan_pt1

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    first instalment of the abhinaya darpan for basics of postures and gestures in bharatnatyam

    Direitos autorais:

    © All Rights Reserved
    Baixe no formato PDF ou leia online no Scribd
    Sinalizar o conteúdo como inadequado
    47 visualizações58 páginas

    Abhinaya Darpan pt1

    Enviado por

    Naren Sundararajan
    first instalment of the abhinaya darpan for basics of postures and gestures in bharatnatyam

    Direitos autorais:

    © All Rights Reserved
    Baixe no formato PDF ou leia online no Scribd
    Sinalizar o conteúdo como inadequado
    de 58
    DANCEGESTURDS Egat tAorgpsopran) Snaet- Eat (GP TRADING AGENCY PRIVATE UNITED e207 Ye a 80.00 ry oon estes Git TRAoWG AGENCY PRIVATE LnTED ‘Mane Op Pox fn. aya Mane 18402272183 ‘34s Sl Set Ware Cem « (04 54 ra eon TS trae dosercorretars se rar yn Or hats. Becca RS aac tata Bice natin pmo nwt eu: i ro rms eo NERUL:SIES.Exgnaen tong Col Gang, Aaa one, Novia Seazpaaaat 7 ATUNGA aon Da eres Bon HFC. Bar Rot, mano ares Sr TSN Te cena MUPORE 1 Km Set St 2 ANGANALLUR (OU 10 Sas Nr apne eros, ewer TON ADR. Sint Pinarhrnay Tampa N22 nd os, Gon nwcntin goes re KANCHURAN 846.8 Kae An Su Si. (4272418, [ies tianoewanarero ore Se re COMBATORE Frio 9, Thamrin Fe RS Rc rows SOUR on ap). 78210 Snape c(e7n0386 BANGALORE: 210 sn Cos, Same Re Medea 000 (2801 mal: saes@gitin Webate woe gia Prfoce.— Pubtshers Not ohne ohinayadarpan Nansuedvara ‘Ausionsin AbSeavabhirt Atuson a Musiotogia! Tes Contract Nandikevare ‘Authors and works ted by Nandkevare, ‘Abicayadarpanam " 1. Namastey twoeaton 2. Niyotpat (rg of Dance) — 23, Navapradamel (Greatness of Naya. 4, Nejanab Keds of Naja) ‘5, Nata Prayogakdln (Qcasons of Dance). 6. Na 7. Nea 8. Ne 9, Satnipat Lakgana (Fears of Capers 10, Mant Lakgana (Foaties of «Couns 11, Sabb Lakgan (Features of an see a 12, Sahl Racand Arayal ofthe Assam. ai ain AANA YADARPANAM agen | 13, Pra Laksana(Feaures of Dance. 40) Varna Pav (Distranchiso ofa Dane. 47] 24. gp ones te moverents)— (0) sa ve. “ (0) At. — ‘ii Lakgana (Quality of Chimes. as ti) sick Prinhand twocaton. = 48 (i) rao, fale But osu of to 48, 9 ams lina Wh Nowra) (at door Natyakrama (The oe 0 Nt) en (i) ata oninaya he gests) 28, Gre Bhasin Neck Moverents). (0) nga Abinaya Physical gestures). a (0) cea Abin (loge) i) Teak (a) fxr Abinaya Make-up) —— a racy Pri (Fundamental quits of & ann nan. (Sta Anaya (Erotona expressions) () Prkamp— onan Soar Te vero een t 26, Hasta Brodin (Hand Posies) ae = (a) Asam hasta (Non-combined and geste). oo (0) Paka. Praag . egies iam és (i) Arhapaia — ‘Sobhecha (Gesure of teed). () Karta Sana () Mayira ()Uavnta Wprisoa) (i) Arhacanara — (a) Adhomutna (ben) (i) la — (7) tt (ot. (iy Skate. (0) Dh ide hak. (Must (i) Kama (nesting) — (3) Sara ‘vid Porta (ured tc. (6) Kepites (si Upton). (a) Katona (te) Parva eensvly moved) i Se (a) Candraa ‘ou Pacers Tn of ABRNAYADARPANAM Page Na. 85 eee Ea 87 “a8 88 “90 a 92 “ee —93 94 94 9 (©) Sama Hasta (Combines Hand geste) aa (apo. (i) arkata (0 Sata (0) Do. () Puppopu. (oi) sarge — (it) Siainga (i) Katakvarchana.— (0) Karissa (8 $k (i) Safa (a) ra. (i) Varina ‘6a) Gara ai) Nigabanat (os Kata. os Se ne (c) Dova Hatin (and gute for Dates). (i) Brana Sa (8) ign — (7) Srasa (6) Pina (i) Laka (oi) ara, (i) Kart. (i) Mace (9) ea. (2) ari (oa) Yara. a) Ni (6) Varna, (ne) Vi (na) Kubera (@) Oakivara Hasta Hand gestae for ‘Ten incarnations of Wag) (0 M8 (0) KGa = i ano AENYADARPASAN rina. (9 Nina (0 Via, (0) Parabcia.— (ma (oa Brine 6 Kyra 60) Kan (0 ami ai hs ae erg io dane) a, (0 Plas 4 (i) Brannan re (i Katia — Sara (0 Vaya et (0) Sidra (1) Bichave Hasan Mand poses for various Rates). 126 (0 Coup. — ae (Meine ee (a) Faber. fe (00 Mothers iss (0) Feteriniow iB. () Husbands Broter Sigs (oi) Mustard Str Sie (ot) Beeters “4 ($00, ie (3) Daughter naw tod (8 CoA nnn =a (0) Netahasini Gata ovement of hand gesture in ta) an Page Mo (ty Novagraha Has (Hand Goses ot Nagra). 19 0 Sey (0) a 13D (8) canara (oom) =: 193 (a) Nigra Mars) — 134 (i) Buta (Moro) 134 (0) Guru Gupte 136 (i) Sata Wenus) 138 (oi) Sani (San) 135 (iy 136 (8) et 136 27. Pasavhedin Movements of Ls) it 137 138 138 139 (a) Piri. (0) Stina Elementary posture of tna) (0) Saepia — (i) Seapi ()Nigabancra nea (0) Car (aha, Taino ABENAYADAREANAM (©) Upiavane Varteso oping) (apa (i) Kar, (i) Ab (i) Mepis a (2) Btvamari Oster kinds of Gyre movers. Votan caea, a) Gar (0) Git varios Sides) (Caan (W)Cafkcamana Cr a (60 ei (0) Kuttana (Lait. (i) Lotta oa) Via. (0 Gat (Varies of Sipe) (0 Swan-step (iy Peacock-tp (i) Doer-sep (i) Bephane- sep ©) Hore (0) Lonatep gt of ABIINAYADARPANAS (oi) Soake-sep (i) Frog-tap — (b) Majette (%) Human sop 28, Some ltr works desing wit Natya — 20, Short Account of Bharati. 90, Abnaes for Danton of Rasa... 81 Rosa (lancos expressing sentiments) (0) Kan (roe). (i) Bhaynaka tor) (i) ya om (i) Kar (patos) (9) Aa wonder (Raut tferocous) (ul) Vea there) — (i) bats (version) .—— (i) Sia. (Sei (82 Sy aor Te lances Aopctng permanent mods (0) Sota. (W) aya w a “ ro ow a) 98, Safcirthave Oat (The lances of Tansy Moods). 178 (0) S90 en a ITB (1) Nata 178 gi an ABHNAYADAREANAN (a) Sects, (0) Litina ©) Gina i) Sa (s@)isanoe (i) Mola (i ufo, () Aohaapa 63) Sta. i) Lata oi) Vira (ov) Archania (ow) Verna (0) Vita (ri) Akaka (ov) Voda (ob) Tat, (2x) Maca, 36, Buk he nm ) Ukgepa (i) Patna (i) Bre (cata. (0 Kufota, (Rocha (sa) Sania 98. ography 36, Roush Skeich of Prekparha (ucoram) ‘37; Some ingortant Questions. PREFACE, Abhinayadarpana, the monuinental text by Acdrya Nanclkeévara. has undergone studies and translations fatir. When the publishers approached me to write translation for the text my task was challonging for the oason that stalwarts have already lad a path which | had to tead careful While preparing the present edition care has been taken fo ensure that it becomes a concise guide to the students ‘of nian theory of Dance as well forthe research scholars. ‘an elaborate introduction and a summary of contents of Bharatérnava, another text on Indian Dance attributed to Nandikedvara is also given for the genera readers. This work tres to give a faithful translation of the text Abhinayadarpana and | have added as appendix few Iijormation Which would be of immense value to both practising dancers as well as theorists of dance studies. For the research echolars, information on various ‘hoores about Nandikedvara, date and his Kdentiy alist of receptors of Indian Dance-Drama-Music tradition, list of ‘works dealing excusively with Naya is given, The book flo Includes a short sccount of Bharatérnava, another work on Naya attributed to Nandikeévara, For the practising students, a diagrammatic representation of Hasta Mudras xo also given for easy reference and afew glances (drs) for dolineation of Rasa, Shiyibhavas and Saficanbhavas ‘re given. Kindly note that all the pictures denoted inthe ‘book are not depicted in the respecte distance which uoht 0 be aging fo tho text andthe ices serve ‘om ABHINAYAD ARAN on 8 deo itn ee ay ‘be slight variations in the schools of practice. ae, The author would consider it to be his 004 fortine, it {he B00k serves the need of th connoisoons Dramatic Traction a mee Inti endeavour am hank! of Mis, Giri Tradir aa As homage 19 my teacher to wn | oe a Suto ctivomet pce my revo g 2” K Stinvasan ea rea: anf aro af} — aA: 1 airs eral werent aaa, |, Seti. P. Ramachandasloar 2006 The sole aim of this book Is to provide an easy and ‘Comprehensive translation of he text ADhinayaderpana of NandikeSwara and to serve as a guide for students studying ‘dance theory and to the researchers of dance. Suitable Pictures, questions and easy expanations have been given {o faciiate in understanding the text better. In this endeavour, we wish to thank the people who have made this book possible for us. Sri P. Ramachandrasekhar, MA. M.Phil, B.Ed. a very \ocicated Protessor of Sanskrit has been kind enough to rovde us with the translation. We wish thank him for his (80-0peration throughout the project. We would like to thank Me. Mandeera Manish, ‘Bharatanatyam Dancer and student of dance theory, for sharing with us the hand drawn diagrams of the singe, Combined hands, head, the feet and the standing pictures. ‘We would also like to thank Mrs: Meenakshi Bats Drector- Publication, Giri Trading Agency Private Limited, for suggesting Mr: Sreejt the artist, who has drawn almost all ‘lagrams for head, eye and neck movements, hand (atures for all Gods, ten incarnations of Vishqu, gestures 10 depict various classes, poses for various relatives, nine Planets, forms and postures of standing andthe nine ass. ‘Wo express our immense appreciation and gratitude o him for having drawn the pictures within a very short period ‘ina Ravi bas guided us with her suggestions on the Iransation in then stages, We are thankful to her. We also thank Sint Satria Prasanna, dancer, who has helped us in checking the pictures and providing us with propriate questions that can be asked from the tex We wish to thank Smt. Leola Samson, Director, Kalakshetra, for her letter of appreciation and for her valuable suggestions with regard to the pictures. And in this connection we wish to thank Me, Vasundhara Thomas of Kalakshetra, whose pictures have been used as a guide ‘to draw few dance gesture. We wich o thank Sint Nandin/ amani, Bharatanatyam Exponent, Executive Member, Sangeet Natak Akademi, New Delhi, and Sint Sanahya ‘Purecha, Bharatanatyam Exponent, Principal/Managing Director, Bharata College of Art & Culture, for thei tics of appreciation, adaling value to this publication We are grateful to Smt, Sushama Ranganathan, Bharatanatyam Exponent, for overall co-ordination of the ‘entire project. Finally our thanks ere due to Sri Anantha ‘Narayana dois for doing the D.TP. work of this entice Project and Sti KM. Narendtvakumar for doing the cover desi. ‘The idea of bringing out this book has been because of the encouragement, guidance and inspiration given by the dancers, dance Gurus and dance insitulons in Mumba ‘So taking this opportunity, we wish to express our sincere thanks and our heartet gratitude to each one of them. = PUBLISHER i kelakesteprn. 03.11.2006 “The Abhinaya Darpanam by Manmohan Gioshisall marktent ha our of dance grew up with, Kalakseta made this {ext compulsory for al stadents to study ‘thoroughly, inorder to gta diploma in Bharala [Natyam. Many generations of dances have since used ita a text bok fr Bharata ‘Toy jit children recite shlcka om the bingy Dap ‘while madeas fy ofthe fingers! Anuplan ofthis textisa valuable step inthe rght rection or ‘he field of Bharata Naty, also all other Indian dance forms. ‘hiss notable contibuion by Mis, Gis Trading Ageny Privat Lmied jrecitthepbliher othe ato explnatosin the ‘extant sraons that desert thes Along wih th Ocean ofthe dance teva intscouty wf eat tse oe partatbecolleen of ons for dance and dane iain he ane teo rcpeonet the toy of aes, wil hope become aes evista tot tstopoonttt be Shaneoseseae Iemingopnbotthe asian unicnione Oat Loner lad 1 yet Bhatia Negar abe Chena 00020, Pr ovezaaoiee nal: andra com Dae 20.11.2006 It is heartening to learn ofthe latest publication of Gie Trading Ageney Pvt. Ld. ~ The text and translation of Abhinsyadarpanan one ofthe most sought after textual material by dancers. Git ‘Trading Agency YUL. renowned fo its edicat work in the lds of Religion, Culture and Heritage of India, has succssfilyveturedint this projet. hereby iservethe cause of Performing ars through tex and context. ‘The publication has come outatatime when the dance sen fs slming wih equal attention onthe sty of Sasa ae mucho he imrieaies of Prayoga to understand beter, thee inter-related process. Appropriate illustrations containedin the book provide a al ink between he sud and vision ofthe txt resuling n theenhancement ofthe valueofthe publication, I wish the publishes, many more productive ventures ike this ‘one to serve the eauseoffine as through proper textual materia that remaina treasure hous of knowledge fr bath practitioners and researchers alike ab (NANDINIRAMAND og ani ABIINAYADARPANA aA quryerrtafaet aera: woreraa: 1 "Plashcha nartanvidhan ‘shasrataha sampradayataha” ha rb art om Sasa en ond Iron avr te sn pots 30) I have indeed very great plese in wring Later of Appreciation for fevsedpubation tf text *Abhinaya Darna by Gl Trading ‘Nesey gl is abicaon i rseig the Shia lense qution, which willbe an ingpraon ®hedances Geese is Nook has an secumltion of al thove aspects needed fr Indian Dancing "Abhiaaya Dagpsram” composed by Nandieshwara, i one of Ihe mst ance Stskt fens on he op of pests in dane for, Bharata Natyam dance form ia vogue tds fllows the ens Ind down inthis teases. The exact ae of tht work snot een, etre bt ic existed ta could Have been wrt ata Period between the $* and 13" cena pe ur bs cari out ak of raltingtokas of wx /AbinayaDarpanam and providing adetonal Information in an ‘Girble manner ‘ This Publication comprises of Sans et, Engh alton and lie davings, which wil be weal stdenand the peer eders Inerested in odian dance se bound to fee preaty helped y ths and therefore would ee very mach atl tofu {can recommend his book uneoadonal to any danceover or stint and am convince hat lh connotseur of nan Awl elem tis ook with ure expecting om Gi Trang AEN, Ir presentation fhe hough, A 0 Gana Porch evra nag Sr Key to Sanskrit words given in English * * 8 ® * ® 8 ® ® So FEpEareeegegeager7ae Kha me ke PPE! PPEEEUpEe Ee? PETES y 15 Saal. alee fea es ane lo 1 oye mon hs vonean « x t * « ezETR Eger gageece st em ABHINAYA ‘The avsthotc pleasure is equated with the supreme bliss by liter rhotriians (aera wet). They even give their hoor, the vedic sanction, by quoting wt @ m: ‘This pleasure is experienced by the connoisseur when he loaes himself inthe enloyment of witnessing a visual art ke dance or drama, istering oan enchanting song reading ‘8 ponetrating book or vsualising an eye-capturing painting (0 woulpture, Visual art inte for of Orama or Dance-drama was one ‘fhe most popular and effective mode of communication find hie! source of entertainment Wis due to this reason that this art-form has been ‘enhanced and elevated to the level of Veda by naming It as iya-Veda, The plot ofa story generally from epic, legend ‘Or mythology aided by music is presented tothe audience {tvough interpretative gestures. This form baing highly suggestive, did not resort to over-dependence on stage ‘properties but developed a system wherein the actor or ‘dancer could convey profound ideas by mere rovemenis fof various mb of the body. Thus the gestures played a ry important role in effective communication to the ‘connoisseur, thereby faclitating the experience of asa’ ‘The etymological explanation forthe term Abhinaya is fven in detail in Sanskrit works such as Natyaéastra, ‘Avhinava-bhirai, Sahityadarpana, et, Butin general terms means “Yo lead the subject mater to the audience” ‘Prorat cere sate wee: | rang: wearer FHA NS, VILT 2 gt Tn of AMENAYADARPANANL NandikeSvara has given a scriptural status by his fective treatment of Abinaya and has made the art of ‘Abhinaya with is inrnsic involvement of hands, feet eyes {and various gestures along with mind working in unison, ‘an essential step for delineation of Rasa. eet reef: ah gfe wt: ‘wat rere et aah ENA Ta 11 (AD. 37) Tho famous Rasa-siira of Bharata states re —argarat— ‘afta sian rrea: which can broadly be understood {5 "Rasa is delineated by interworking of Vibhavas (factors for suppor lke the hero or heroine), Anubhavas (external manifestations) and Vyabhicars (the transitory moods)". When the Sthayishavas (dominant moods) which number nine are kindled respectively by Alambana (supportive actors) and Uddipana (kindling factors), there isa rise of ‘the corresponding sentiment. The process of Alambana is similar ‘othe Candrakana stone owing outin te presence ‘of moon oF Slryakdinta bazing forth on eight of the sun Simitary Uddipana act jst asthe sea becomes rough at ‘moon-rise, Udipana gives rise to three types of changes amely agitating (Keobaka), inflaming (Abhivardhaka) and ‘adverse (Pratik) ‘When Sthayibhavas are thus activated, there arises Anubhvas and Wyabhicaribhavas, Vyabhicaribhavas are _oftwo types: Abhyantara and Batya (intrnal and external) ‘The Abhyantara Vyabhicaras are thicythree such as Cini, ‘Autsikya, ele: The Bahya Vyabhicaras are eight Sttvkas, The acting or imitation of these Vyabhicarins and Tani « ABNAYADARPANAM a ‘Anubhavas of both casses is called Abhinaya - Sétvka ‘Angika, Vaca and Anaya." ‘The importance of Abhinaya in the final delineations of asa was to such an extent that ater writers tke Matrgupta ‘lo. accept three varieties fo all Rasas namely Vcika Rasa, Nopathya Rasa and Svabhavaja Rasa which are dolineated Wom appropriate verbal suppor, ornamentation and innate uals respectively. wuctarerrewerdhint: va: arena a: wa area sere? (uct by Réahavabata in is comm. on Shunt, 5, Kale edn) ire a wo nave vars ald Sry and Gh iy notinaya is nt «compo rar for Vick, Argh fa avis Abra pl tga ore ae Fe TEMA 1 (nS, xK.1) mtr Cra Atinaya ea compcata name of 8st of Kigka ‘Nica for doen cece east rain. took nee twig wl ong ord wee. Rio: AR: 1 1s 1) Titer tytn ay an er ra ‘Cre Rsbedurra Gare EPS) ABHINAYADARPANA Abhinayadarpanatnas a unique and respectable place in the tradition of Natya. The system of Naja has two-fold

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