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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' + nii- 'leading/guide', so literally it means a 'leading towards' (leading the audience towards a sentiment, a rasa)
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]
Āṅgika 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.This relates to the movement of the body, and how the thing to be expressed is portrayed by movement of the anga or limbs, which include facial expressions. There are different schools of Abhinaya, with the expressions ranging from the grotesque to the understated, from the crude to the refined. Āngika abhinaya forms either Padartha abhinaya (when the artiste delineates each word of the lyrics with gestures and expressions), or Vaakyartha abhinaya (where the dancer acts out an entire stanza or a sentence).
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. Traces of Vāchika Abhinaya are preserved in Kuchipudi and Melattur style of Bharatanatyam where the dancers often mouth the words of the songs to support Padartha abhinaya.
Āhārya Abhinaya
This is expression through the use of external fittings, such as costumes, ornaments, lighting and makeup, which should all be complementary to the emotions expressed.
Sāttvika Abhinaya
Sāttvika Abhinaya is often confused with facial expressions, which belong to Āngika Abhinaya. Sāttvika Abhinaya is the mental message, emotion or image communicated to the spectators through eyes. 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.
Notes
- ^ Tarla Mehta (1995). Sanskrit Play Production. Motilal Banarsidass.pp.131-186
Further reading
See also
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