The Nayta Shastra is the principal work of dramatic theory in the Sanskrit drama of classical India. It was written by the sage Bharata Muni. It is a set of precepts on the writing and performance of dance, music and theatre. While the Natyasastra primarily deals with stagecraft, it has come to influence music, dance, and literature as well. Thus, an argument can be made that the Natyasastra is the foundation of the fine arts in India.
The Natya Shastra was created in the beginning of Treta
Yug by Brahma on the request of Indra and other devas
as an object of diversion (Kridaniyaka). As the lower
castes (Shudras) were not entitled to listen to the
four Vedas (Sama, Yajur, Rig and Atharav), Brahma created
the Natya Shastra as the fifth Veda which was open to all,
irrespective of caste and creed.
Prior to the creation of the Natya Veda, Brahma
entered a yogic trance in which he recalled the four
Vedas. He drew the recitative (Paathya) from the Rig,
songs (Geeta) from the Sama, histronic representation
(Abhinaya) from the Yajur and sentiments (Rasa) from the
Atharv.
These aspects are the four main constituents of the
Natya Veda.
When the Natya Veda was ready, the Gods expressed
their inability to practise it, and Brahma passed
it to Bharata Muni and his one hundred sons who were asked
to practise it.
The dance was first seen at the Flag Festival
of Indra to celebrate the victory of the Devas
against the Daahavas.
Shiva learnt the Tandava (masculine) form of the
dance, whereas Parvati, his consort learnt the
Lasya (feminine) form.
Elements of Indian Dance
Abhinaya:
Abhinaya is common to all Classical Indian dances.
Abhinaya is the expressional aspect of dance, or nritya . In
contrast to this, Nritta is composed of only pure
dance and will feature
striking and aesthetic poses, but will have no expressional meaning
and symbolism.
Abhinaya has been analysed in the Natya Shastra
and has been categorised into four types:
· Angika - or physical, using movements of every part
of the body to convey meaning, with hastamudras
(hand gestures), mandis (postures) and even the
walk of the dancer.
· Vachikabhinaya - or vocal/verbal,
used formally today by members of the orchestra
or supporting, non-dancing cast.
· Aharyabhinaya - or external, expression, mood
and background as conveyed by costume, make-up,
accessories and sets.
· Satvikabhinaya - or psychological,
shown by the eyes in particular and as a
whole by the entire being of the performer,
who feels the mood, the character and the emotion
as emanating from the self, not as an act or
practical presentation.
The Navrasas:
In addition, the navarasas, or nine emotions, give all
dance a completeness that allows the dancer and the
rasikas (audience) to experience the full beauty and
meaning of the lyrics and the movements they are
portrayed by.
These emotions are expressed in the
eyes, the face, subtle muscle shifts and the body
as a whole. They are:
Slokas or verses which are full of wisdom
are central and common to the traditional way of life; that is,
life as per the Vedas. Thus it is only natural that we
find many verses that pertain to the art of dance. Below
I have presented only two, but these are very widely known
throughout India and although appropriate to dance, they can
fit in happily to all aspects of life.
In Bharata Natyam, as in many other dance forms
there is an oft-repeated sloka:
Guru Brahma
Guru Vishnu
Guru Devo Maheswaraha
Guru Sakshaad Parambrahma
Tasmay Shri Guruveh Namaha
*
Aangikam Bhuvanam Yasya
Vachikam Sarva Vangmayam
Aharyam Chandra-Taradi Tvam Namaha
Sattvikam Shivam
The sloka can roughly be translated to mean
Lord Brahma, Lord Vishnu, Lord Shiva, (My) Guru
I bow to you, the ultimate Lord/Guru:
*
You, whose limbs are the Universe,
You, the Originator of all speech,
You, whose adornments are the moon and stars,
You are The Truth.
The Natya Krama The following sloka is:
Khantaanyat Lambayat Geetam
Hastana Artha Pradakshayat
Chakshubhyam Darshayat Bhavom
Padabhyam Tala Acherait
*
Yato Hasta Stato Drushti
Yato Drushti Stato Manaha
Yato Manaha Stato Bhavom
Yato Bhavom Stato Rasaha
This means:
Keep the song in your throat
Let your hands bring out the meaning
Your glance should be full of expression
While your feet maintain the rhythm *
Where the hand goes, there the eyes should follow
Where the eyes are, the mind should follow
Where the mind is, there the expression should be brought out
Where the expression is, there the rasa or flavour will be experienced (by the audience).
Below are some of my favourite Classical Dance (esp. Bharata Natyam) sites.
