Angika Abhinaya.
It comprises of the various physical expressions.It is of 2 kinds- Padaarthabhinaya and Vakyaarthabhinaya. Padarthabhinaya is the expression of word to word meaning, while vakyarthabhinaya is the expressions of a general idea of a sentence or mood. It comprises of six main parts and six subordinate body parts.
The six main body parts are called as angas. They are :
? Head
? Hands
? Chest
? Hip
? Sides
? Feet
1.Head:
There are 13 abhinaya-s of the head.
? Aakampita: In this, the head is slowly raised and as slowly brought down. This conveys a hint, a message, a question, a direction, or pointing and beckoning.
? Kampita: The movements are similar to the above, but are done much fatser and quicker. It expresses anger, doubt, recognition, threatinng, and insistent questioning.
? Dhuta: Slow shaking of the head. It conveys non-desire, regret, surprise, conviction, looking aside in empty stare, and prohibiting.
? Vidhuta: When Dhuta is done more quickly, it is called as vidhuta. It conveys the feelings of cold, of fear, of agitation, f fever, and als, the first drasught of wine.
? Parivaahita: In this, the head is turned away in order to convey messages like surprise, joy, intolerance, pondering, denial, fooling, and the sense of enough.
? Aadhuta: It expresses haughtiness, introspection, and looking abut or at one by one side. For this the head is lifted once obliquely.
Hands:
Hastabhinaya. It is the abhinaya of the hands which are one of the important body parts. According to Bharata, the hand Gestures for drama and dance are different. While drama has 24 hand gestures, involving figures and palm gestures, for dance there are 64 in number. These gestures are called Mudras, and the first 24 mudras are:
Pataka: It is denoted with the thumb bent and other fingers streched out. Whith both hands and fingers miving it denotes rain, showering of flowers etc., Both hands form a Swatika. It denotes the self. It is the first Mudra in the beginning of natya. It is used for denoting the following - to say no, taking an oath, to denote silence, cutting, to enter into a street, forcing open doors, to denote greatness and goodness, to bless, to address a person or a shield, to show that it's a rainy day, and also to denote time.
Tripataka: It is the pataka, but with the fourth Anamika finger bent. It is also used for saluting. Swastika formed using both hands is to salute elders. It denotes a tree, a lamp, a fire, an arrow, and a bird.
Ardhapataka: It is used to denote numbers - two, or say both; a slab or a board, a knife or a spear, and the bank of a river.
Katrimukha: In the above gesture, when the index finger is on the back of the middle finger, it is katarimukha. Holding downwards suggests traveler walking etc., Holding upwards suggests Weight, summit, etc., By the 2 fingers, index and middle, walking in broken steps is also suggested. This Mudra denotes separation, a creeper, differenc, a corner of an eye, lightening, falling, weeping and dying.
Mayura: It denotes a peocock’s neck, a creeper to remove knots from the hair, vomiting, scattering, to praise and to apply tilakam [the traditional bindi of those days.]
Ardhachandra: The thumb is held on one side and the other fingers spread out, denoting a half-moon, a hand seizing the throat, a knife or a spear, consecrating an idol, meditations, prayers, origin, and to greet.
Arala: The thumb is bent; the other fingers are spread out from each other, 2nd finger bent like a bow. It is used for blessing in the case of males and for collecting the hair in the case of women. Bourage, dignity of men, and self-admiration by women is also denoted using this mudra. Swasthika formed with the fingers of both hands, indicate marriage and other auspicious occasions.
Sukatunda: It denotes shooting of an arrow, an angry mood, and a spear or a axe. When in Arala gesture, the 2nd an the fourth finger on five and it is called Sukatunda. If the thing though some been down and street and more than once it indicates invitation or challenge
Musti: it denotes stead and fastness to grasp and hold various things the might and valour. The fingertips touch the palm and the thumb presses down the on the middle finger .
Sikhara: It denotes Shivalingam, a bow a pillar to question the sound of a bell, the act of embrace. In this the, thumb is raised up.
Kapitha: It denotes goddess Lakshmi, goddess Saraswati, the milking of milking the cows, offering incence and camphor, Gathering The ends of the robes, to pull and to hold things. When the tips of the thumb and the 2nd finger touch in sikhara, then it’s called as kapitha. It suggests Weapons.
Katakhamukha: It denotes the picking of flowers, holding the necklace or a garland of flowers, offering beetle leaves, speaking, glancing, and applying perfumes. When the 4th and the little fingers are raised in Kapitha, it is known as Katakhamukha.
Suchi: It denotes number 1, used to pint out, to perform the action of thinking, or to threaten, to indicate astonishment or to indicate the decline of the day, to show the world, the beating of drums, a rod, or the potter’s wheel and the circumference of the wheel. In this, the 2nd finger of the Katakamukha mudra is stretched out. When the second finger is turned round and round to indicate the potter’s wheel or a crowd.
Padmakosa: It denotes the lotus bud fruits, a cooking pot, an anthill, an egg, or a ball, a circular movement, and round breasts of a woman. In this the thumb and the fingers spread away from each other and bend like a bow. When the tips of the fingers are separated out 2 or three times, it suggests showering of flowers.
Sarpasira: It denotes a snake, or the action of sprinkling water, the movement of an elephant’s ears, and the arms of the wrestlers. In this all the all the five fingers are held together with the palm held down.
Mrgasirsa: When the lirttle finger and the thumb are straightened up it is called as Mrgasirsa. It denotes a woman, or the feeling of fear, to call or to quarrel; it indicates the limit, the message of the feet, height and taking steps.
Simhamukha: It denotes a lion’s head, an elephant, a homa, or a yagna, and preparations osf the medicines by the physicians.
Kangala: It denotes fruits, a bird, a coconut, bells worn by children, and the betel nut tree. In this, the 4th and the little fingers are straightened up.
Alapadma: It denotes fully bloomed lotus, denotes beauty, praise, a hair knot, the full moon, a piece, a hill or a mountain, ans a mirror.
Catura: In this, 3 fingers are spread out holding the thumb between them and raising the little finger. It denotes a musk, or a glance, denotes the astion of breaking into pieces, sweetness, a littlesorrow, taking small steps, and to pour oil into the sacrificial pyre.
Hamsasya: It denotes the beak of a bird, purity, pearls, jasmine flower, the act of writing or painting and tying a knot. In this, the tips of the thumb and the second and middle finger touch each other the other 2 are apart from each other, and raised.
Bhramara: In this, the tips of the thumb and the middle finger touch each other and the second finger is bent and the other 2 are raised. It denotes a bee, a cuckoo, a parrot and other birds.
Hamsapaksha: It denotes a bridge and a covering. In this, the thumb is bent, the little finger is raised, and the other three fingers stretched parallel to each other. It denotes offering water to the dead, holding the chin etc.,
Sandamsa: It denotes the belly or the naval, shows great fear, to worship and making offerings to the deities. It is similar to Arala, but in this, the tips of the thumb and the second finger touch with the palm facing downwards.
Mukulam: It denotes eating, worshipping god, a water lily, and a flower bud. In the hamsasya mudra when the fingers bent at thetip are raised, it is called Mukulam.
The chest:
It is of five kinds:
Abhunga: covered or caved in. In this, both the shoulders are drooping down and arms loosely held, while the back is arched outwards. It conveys agitation, fear, sorrow, cold, rain falling etc.,
Nirbhunga: In this the breath is drawn in such that the chest expands and lifts and the back curves in. It is used to denote speaking the truth, bragging, haughtiness, deep breath, affected indifference by women.
Prakampita: In this, the chest trembles due to repeated high jumps.
Udvahita: The position of the chest while taking deep breaths or seeing a long distance or yawning is called as Udvahita.
Sama: When all the limbs are held upright, the position of the chest is known as sama.
The sides :
There are 5 kinds of positions. They are:
1. Nata: In this the hip and the side above it are curved and the shoulder is held a little away.
2. Sammunata:
3. Prasarita: In this, the sides are Stretched out or expanded.
4. Vivartita: In this the lower part of the spine is twisted.
5. Apasrta: When in the Vivarita position the side is moved back it’s Apasrita.
The Hip:
1. When one looks turning back, it is called as china kati.
2. When one turns around it is called as Nivrtta Kati.
3. When One revolves round and round, it is recieta Kati.
4. When the hip is intimidating the walk of the hunchbacked or the Short person, it is Kaupita Kati.
5. When imitating the slow and graceful steps of a woman it is calling as Valvokita Kati.
Foot.
These are of five kinds :
1. Valghatitta: In this the dancer stands on the tips of the toes and baugs the heels on the ground. It should be done in Drutamadhyamaonce or many times by folding the toes.
2. Sama: This is the normal form where the dancer’s feet are placed on the ground. It is the natural posture.
3. Agratulasankara: In this all the toes are spread out except the big ones raising the heel. It is used for driving the chariot, in war, stamping the ground with force and dancing, etc.,
4. Ancita: in this the heel is kept on the ground and the front part of the Foot is lifted .
5. Kuncita: It is used in Udatta Strauce, or for crossing over. In this the heel is raised and the toes are folded into the middle of the foot.
The Eyes.
There are totally 36 varieties of the eye movements. Out of these, 8 convey 8 rasa-s The next eight express the eight stagi Bhavas, and the remaining twenty the other, bhavas.
Nose:
Expressions such as grief, impatience, Strong smell, fragrance, laughter, contempt etc., are determined by the nostrils. They might be a quivering, slightly flinched, drawn back breathing, distended and normal. it comprises of six varieties.
Cheeks: It has six varieties and expressions like sorrow, Joy, arrogance, anger, fear and other emotions can be based on weather that cheeks are sunken, full blown, puffed up, sallow, throbbing, or normal.
Lips:
These also comprise of six varieties. Curled lips, quivering Lips, lips extended Side ways, compressed lips biting lip and pouting lips.
Chin :
it is associated with the movements off the teeth and lips. Gritting Of the teeth, parting or compressing of the lips and pouting and looking up gives six varieties of the chin.