DOCSLIB.ORG

Nandikesvara's Abhinayadarpanam (AD) Written Around 1000 A.D. Is The

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Nandikesvara's Abhinayadarpanam (AD) Written Around 1000 A.D. Is The Nandikesvara’s Abhinayadarpanam (AD) written around 1000 A.D. is the most important text on gestures used in dance and theater after Bharata’s Natyasastra. An online version of these textbooks can be found at https://archive.org/details/abhinayadarpanam029902mbp https://archive.org/details/NatyaShastraOfBharataMuniVolume1 You can download them as a PDF or for Kindle. Some key Shlokas (Verses) from these texts. “GururBrahma GururVishnu GururDevo Maheshwaraha Guru Saakshaat ParaBrahma Tasmai Sri Gurave Namaha” Guru (dispeller of darkness) is the Creator (Brahma), Guru is the Preserver (Vishnu), Guru Deva is the Destroyer (Maheshwara) Guru is the absolute (singular) Lord himself, Salutations to that Sri Guru (Salutations to the one who himself is the creator, the sustainer, the destroyer and ultimate consciousness. 1 “Aangikam Bhuvanam Yasya Vachikam Sarva Vaangmayam Ahaaryam Chandra Taaradi Tam Numah Saatvikam Shivam” • Aangikam – Body • Bhuvanam – Universe • Yasya – Whose • Vaachikam – Speech • Sarva – All • Vaangmayam – Languages (Sound) • Aaharyam – Ornaments • Chandra – Moon • Taara – Stars • Aadi – Etc. • Tam – That • Numah – Bow • Saatvikam – Pure • Shivam – Lord Shiva Whose Body is the entire universe, Whose words are all literature/sounds, Whose ornaments are the moon and the stars, To you, we bow, Oh Pure Lord Shiva! 2 “Khantaanyat Lambayat Geetam, Hastana Artha Pradakshayat Chakshubhyam Darshayat Bhaavam, Paadaabhyam Taalam Aacherait” 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 “Yato Hasta Thato Dhrishti Yato Dhristi Thato Manaha Yato Manaha Thato Bhaavaha Yato Bhaavaha Thato Rasaha” • Yato – Where • Hasta – Hand • Thato – there • Dhristi – eyes • Manaha – mind • Bhaavaha – expression • Rasaha – emotion Where the hand goes, the eyes must follow Where the eyes go, the mind must follow Where the mind goes, so follows the expression Where the expression goes, so follows the emotion 3 “Dharmyam yashasyam aayushyam, hitham buddhi vivardhanam Lokopadesha Jananam, naatyam ethadh bhavishyathi Na thath gnanam na thath shilpam, na saa vidhya na saa kalaa naasau yogo na thath karma, naatye asmin yanna drshyathe” Dance confers spirituality, success, and longevity. It promotes the growth of pure intelligence. It generates worldly wisdom, and will always be in vogue. There is no purer knowledge, no purer sculpture, no purer learning, no purer art, neither yoga nor karma, than that found in dance. “Om Sahana Vavatu Saha Nau Bhunaktu Saha Veeryam Karavaavahai Tejasvinavadi Tamastu Maa Vidvishavahai Om Shaanti Shaanti Shaantihi” • Saha – together • Nau – both • Avatu – may he protect Om, May we all be protected, May we all be nourished, May we Work Together with great energy, May our Study be Enlightening, And not giving rise to Hostility Om, Peace, Peace, Peace 4 “Eta Chatur Vidhopetam NaTanam Trividham Smrutam NaTyam Nrittam Nrityamiti Munibhir Bhartadibhihi” The four kinds (of Abhinaya) that Dance is attached to, is of 3 forms Natya, Nritta and Nritya This is according to Bharata Muni and other sages. “Vishnu Shakti Samuthpanne Chitra Varna Mahitale Natyam Karishya Bhudevi Padaghatham Kshamaswame Devatanam Shirastastu Gurunamasya Samsthithaha Vakshsthaschaiva Vipraanaam Sheshatwa Niyamo Bhavet” (Combination of 3 shlokas from NatyaShastra) Uplifted by the power of Lord Vishnu, You have many wonderful qualities (Bhudevi/Mother Earth) I am about to begin my dance, Bhudevi Please forgive my foot stampings. Salutations are offered above the head to the Gods, At the forehead to the teachers/Guru, And at the chest to the scholars. 5 Head Movements (Shiro Bhedha) (9 in number) Samam Udvahitam Adhomukham Aalolitam Dhutam Kampitamcha Paravrittam Utkshiptam Parivahitam Navadha Katheetham Sheersham NatyaShastra Vishaaradaihi Eye Movements (Drishti Bhedha) (8 in number) Samam Alokitam Saachi Pralokita Nimeelite Ullokita Anuvrittecha Thatha Chaiva Avalokitam Ithyashtau Drishti Bhedhaha Syuhu Keerthithaha Poorva Suribhihi Neck Movements (Greeva Bhedha) (4 in number) Sundari Cha Tirascheena Thathaiva Parivartita Prakampita Cha Bhaavagnaigneya Greeva Chaturvidha 6 Eyebrow Movements (Bhrikuti Bhedha) (6 in number) - From Natya Shastra Sahajam – Normal eyebrows Patitam – Bringing both eyebrows together from Sahaja position. Utkshiptam – Raising the eyebrows together Chaturam – Up-down movement of the eyebrows together Rechitam – Raising one eyebrow at a time Kunchitam – Bringing both eyebrows together from Utkshipta position 7 Single Hand Gestures (Asamyuta Hasta) (28 in number) Pataaka-s Tripataako Ardhapataaka-h Kartarimukha-ha Mayura-akhyo Ardhachandra-scha Araala-h Shukatundaka-ha Mushti-scha Shikhara-akhyascha Kapiththa-h Katakamukha-ha Soochee Chandrakala Padmakosha-h Sarpashira-sthatha Mrigasheersha-h Simhamukha-ha Kangula-scha Alapadmaka-ha Chaturo Bhramara-schaiva Hamsasyo 8 Hamsapakshaka-ha Sandamsho Mukula-schaiva Tamrachooda-h Trishulaka-ha Itya Asamyuta Hastaanaam Ashta Vishati Reerithaa Double Hand Gestures (Samyuta Hasta) (23 in number) Anjali - shcha Kapota - shcha Karkata - ha Svastika – statha Dolahasta - ha PushpapuTa Utsanga - ha Shivalingaka - ha Katakavardhana - shchaiva Kartarisvastika - statha ShakaTam Shankha Chakre - cha SampuTa - ha 9 Paasha Keelaka - u Matsaya - ha Koormo Varaha-shcha Garudo Naagabandhaka - ha KhaTva BheruNDa Ityete Sankhyaata Samyutaha Karaha Trayavimshati Rityuktaha Poorvagai Bharatadibhihi 10 Terms specific to Kathak (Some definitions from “Ang Kavya” by Pt. BirJu MaharaJ) Maatra – Beat (unit of measuring duration of a Taal) Taal – Timecycle (cyclic arrangement of beats to measure time) Sum – First beat of a Taal from the next cycle, which is usually the most accented Taali – Clap (accent) Khaali – Blank beat (negative accent) Bol – Syllables Vibhaag – Division of the Taal into different Taali/Khaali combinations THeka – Rhythmic arrangement of syllables of any Taal played on the Tabla/percussion Nagma/Lehra – Melodic phrase that supports the rhythmic structure of any Taal 11 Gati – Speed Laya – Tempo (The gap between two strokes/beats determines this). Three stages are Vilambit – slow, Madhya – medium and Drut – Fast Barabar/Ekgun – 1:1 ratio of Bol to Maatra Dugun – 2:1 ratio of Bol to Maatra Chaugun – 4:1 ratio of Bol to Maatra ATThgun – 8:1 ratio of Bol to Maatra Padhant – To recite Some common Taals danced in Kathak – Teen Taal (16 beats), Jhaap Taal (10 beats), Kaharwa Taal (8 beats), Dadra Taal (6 beats), Rupak Taal (7 beats), Ek Taal (12 beats), Dhamaar Taal (14 beats) Ginti – Counting (numerical patterns) Bedam – without a pause/gap in the rhythmic structure Dam – with a gap in the rhythmic structure Tihai – rhythmic phrases/patterns repeated 3 times. Chakradhaar – Three times repeated 12 Tukra/Tora – small phrases of rhythmic compositions performed with the entire body (Natwari, Tatkaar, Sangeet, Paramelu) Paran – rhythmic phrases composed of only Pakhawaj syllables (bols) executed with vigor and virtuosity Jaati – The arrangement of syllables (bols) against the number of beats (maatra), in measuring the musical time. Five main varieties are: • Tisra (3 in 1 maatra), • Chatusra (4 in 1 maatra), • Khanda (5 in 1 maatra), • Misra (7 in 1 maatra), • Sankeerna (9 in 1 maatra). Yati – the imaginative shape formed by the arrangement of bols in any rhythmic composition. Five popular varieties are: • Sama (even format), • Shrotgataa (narrow to broad), • Pipilikaa (heavy on both ends, light in the middle), • Gopuchcha (tapering) and • Mridangaa (small at the ends, broad in the center). Layakari – Rhythmic interplay Edi – Heel Panja – Toe 13 Ardhaagath – Side stroke of feet Hatheli – Palm Nazar – Glance Kalaas/GaTTaa – Wrist movements Kasak – Twist of the upper torso Masak – Movement of chest due to inhalation and exhalation Gardan ka dora – subtle, sideways neck movements Meend – A circular movement overhead (connecting the space around) Palta – Reverse (back and forth) turns Chaal – Gait, stylized walk Lachak – Grace Andaz – Poise Adaa – Style Chakkar/Pheri – Pirouttes/spins 14 Basic Kathak hand movements with stance Naman – Both hands in loosely clasped position, 6 inches in front of chest center, right palm over left. Legs are straight and feet are in a small V. This is the main posture of the hands for all footwork. Utpatti – Both hands brought near chest center, first finger tip and thumb touching each other (Arala hasta), palms facing downward. Almost all Nritta hastakas start from this position. 15 Sthira – One hand remains at Utpatti position, the other extends firmly on one side of the body, palm facing down. The leg is also extended 5-6 inches on the same side as the hand. Palat – Turning the palm over with the rotation of the wrist. Slight rotation of the upper torso 16 .
Load more

Recommended publications
  • Indian Classical Dance Is a Relatively New Umbrella Term for Various Codified Art Forms Rooted in Natya, the Sacred Hindu Musica
    CLASSICAL AND FOLK DANCES IN INDIAN CULTURE Palkalai Chemmal Dr ANANDA BALAYOGI BHAVANANI Chairman: Yoganjali Natyalayam, Pondicherry. INTRODUCTION: Dance in India comprises the varied styles of dances and as with other aspects of Indian culture, different forms of dances originated in different parts of India, developed according to the local traditions and also imbibed elements from other parts of the country. These dance forms emerged from Indian traditions, epics and mythology. Sangeet Natak Akademi, the national academy for performing arts, recognizes eight distinctive traditional dances as Indian classical dances, which might have origin in religious activities of distant past. These are: Bharatanatyam- Tamil Nadu Kathak- Uttar Pradesh Kathakali- Kerala Kuchipudi- Andhra Pradesh Manipuri-Manipur Mohiniyattam-Kerala Odissi-Odisha Sattriya-Assam Folk dances are numerous in number and style, and vary according to the local tradition of the respective state, ethnic or geographic regions. Contemporary dances include refined and experimental fusions of classical, folk and Western forms. Dancing traditions of India have influence not only over the dances in the whole of South Asia, but on the dancing forms of South East Asia as well. In modern times, the presentation of Indian dance styles in films (Bollywood dancing) has exposed the range of dance in India to a global audience. In ancient India, dance was usually a functional activity dedicated to worship, entertainment or leisure. Dancers usually performed in temples, on festive occasions and seasonal harvests. Dance was performed on a regular basis before deities as a form of worship. Even in modern India, deities are invoked through religious folk dance forms from ancient times.
    [Show full text]
  • Final Senior Fellowship Report
    FINAL SENIOR FELLOWSHIP REPORT NAME OF THE FIELD: DANCE AND DANCE MUSIC SUB FIELD: MANIPURI FILE NO : CCRT/SF – 3/106/2015 A COMPARATIVE STUDY OF TWO VAISHNAVISM INFLUENCED CLASSICAL DANCE FORM, SATRIYA AND MANIPURI, FROM THE NORTH EAST INDIA NAME : REKHA TALUKDAR KALITA VILL – SARPARA. PO – SARPARA. PS- PALASBARI (MIRZA) DIST – KAMRUP (ASSAM) PIN NO _ 781122 MOBILE NO – 9854491051 0 HISTORY OF SATRIYA AND MANIPURI DANCE Satrya Dance: To know the history of Satriya dance firstly we have to mention that it is a unique and completely self creation of the great Guru Mahapurusha Shri Shankardeva. Shri Shankardeva was a polymath, a saint, scholar, great poet, play Wright, social-religious reformer and a figure of importance in cultural and religious history of Assam and India. In the 15th and 16th century, the founder of Nava Vaishnavism Mahapurusha Shri Shankardeva created the beautiful dance form which is used in the act called the Ankiya Bhaona. 1 Today it is recognised as a prime Indian classical dance like the Bharatnatyam, Odishi, and Kathak etc. According to the Natya Shastra, and Abhinaya Darpan it is found that before Shankardeva's time i.e. in the 2nd century BC. Some traditional dances were performed in ancient Assam. Again in the Kalika Purana, which was written in the 11th century, we found that in that time also there were uses of songs, musical instruments and dance along with Mudras of 108 types. Those Mudras are used in the Ojha Pali dance and Satriya dance later as the “Nritya“ and “Nritya hasta”. Besides, we found proof that in the temples of ancient Assam, there were use of “Nati” and “Devadashi Nritya” to please God.
    [Show full text]
  • On Bharata Natyam (Excerpted from Dancing by Gerald Jonas
    On Bharata Natyam (Excerpted from Dancing by Gerald Jonas. New York : Harry N. Abrams, 1992) Indian philosophers and religious teachers have debated long and hard about the nature of the world and humanity's place in it; and different schools of thought have advanced different solutions to the problems of appearance and reality, good and evil, duty and desire, spirituality and sensuality . But all the competing formulations have at least two things in common: a belief in the underlying unity of existence and a determination to exclude no aspect of life in the search for the meaning of life. This insistence that all the pieces must ultimately fit together in a satisfying whole has shaped Hinduism's attitude toward the body. Far from being seen as an impediment to spiritual enlightenment, the body is treated as a tool for achieving greater insight and understanding. Is it any wonder that in India—where the gods dance—the dancing body can be both a source of pleasure and a vehicle of worship? Dance in India takes a bewildering variety of forms. Of these, two inparticular— bharata natyam and kathakali— exemplify the ways in which dance and religion intersect in Indian life.... Bharata natyam is a solo for a highly trained female dancer; it traces its origins to the devotional dances once performed within Hindu temples. ...The Natya Sastra (the Hindu tradition's "theatre manual") asserts that dance drama, properly performed, "emboldens the weak, energizes the heroic, enlightens the ignorant and imparts erudition to the scholars" by showing humanity and divinity as they really are.
    [Show full text]
  • University of Iowa Eco-Sensitive Low-Cost Housing: the Kerala Experience
    University of Iowa Eco-sensitive Low-cost Housing: The Kerala experience India Winterim program 2011-12: December 27, 2011-January 15, 2012 Instructor: Jerry Anthony ([email protected]) Winterim India Program Coordinator: R. Rajagopal ([email protected]) Course description Good quality housing is a basic human need. However, it is not always available or if available is not priced at reasonable levels. This forces millions of families all over the world to live in bad quality or unaffordable housing, causing significant socio-economic, physical and financial problems. The scope and scale of the housing shortage is markedly greater in developing countries: one, because of the sheer number of people that need such housing, and two, because of the lack of public and private resources to address this crisis. These constraints have forced governments and non-profits in developing countries such as India to devise innovative lower-cost housing construction technologies that feature a high labor component, use many renewable resources, and have low impacts on the environment. This course will provide an extraordinary opportunity to advanced undergraduate and graduate students and interested persons from Iowa, to travel to India, interact with highly acclaimed housing professionals, learn about many innovative eco-sensitive housing techniques, and conduct independent research on a housing topic of one’s choice. All course participants will develop a clearer understanding of the conflicting challenges of economic development and environmental protection, and of culture, politics and the uneven geography of opportunity in a developing country. The course will be located in the city of Trivandrum (also called Thiruvananthapuram), the capital city of the state of Kerala.
    [Show full text]
  • Satvika Abhinaya in Kathakali
    The game of dice from the Mahabharata. Satvika Abhinaya in Kathakali M. K. K. Nayar The forest is thick and frightening, yet cool. The sun is low in the sky, scattering its rays through the thick foliage, laying a carpet of golden flowers on the shores of the gurgling stream. A doe, in labour pains, gently moves along to find a safe and cosy corner to give birth to its offspring. It relaxes on the dry ground close to the water. It is startled by the sound of a dry twig breaking. Peering into the distance, its sad eyes catch a glimpse of a hunter, stalking it carefully, his bow strung and poised to pierce it. The doe is lying far too much in the open. Since it cannot flee, it must hide nearby. As it turns around, it is stricken with fear at the sight of a tiger approaching it from the direction where it hoped to hide. The doe must somehow escape, but the dried grass behind it has caught fire. Thus the creature is hemmed in on all sides, by the river, the fire, the hunter and the tiger. The impending peril aggravates the doe's labour pains. In sheer agony, it looks around only to see the flowing river, the rag ing fire, the approaching hunter, and the tiger ready to spring. All hope of escape seems to be lost­ when suddenly a flash of lightning rents the sky, followed by a thunderstorm. Struck by lightning, the hunter dies; his arrow misses its aim and kills the tiger instead.
    [Show full text]
  • Anandi Silva Knuppel, Phd
    Anandi Silva Knuppel, PhD [w] anandileela.com [e] [email protected] Education Ph.D. Religion, Emory University 2019 Dissertation: “Beyond Seeing: Embodied Multisensory Performance, Experience, and Practice in Contemporary Transnational Gaudiya Vaishnavism” Dissertation Committee: Joyce Flueckiger (chair), Jim Hoesterey, Ellen Gough Course of Study: West and South Asian Religions Qualifying Exams: Hinduism in Practice; Devotional Traditions in Hinduism; Visual Anthropology; Transnational Religions; Phenomenology, Practice, and Performance Theory Concentration Certificate: Religious Practices and Practical Theology M.A. Religion, Duke University 2011 B.S. Astronomy with Honors and Special Honors, University of Texas at Austin 2004 B.A. Physics with Honors, University of Texas at Austin 2004 Research and Teaching Interests Ethnography of religion; transnational religions; new religious movements; American religious cultures; visual anthropology; devotional practice/bhakti traditions in Hinduism; performance traditions of India; performance theory; visual/material culture; religion and media; documentary production; digital humanities; digital pedagogy Academic Awards & Honors John Fenton Prize, Religious Studies 2019 AIIS Telugu Language Program, Summer 2010, Emory Practices and Practical Theology Dissertation Visakhapatnam Research Support Grant 2017-2018 UCSB Physics Research Fellowship 2005 Hispanic Theological Initiative Dissertation Scholar 2018 Karl G. Heinze Scholarship, Astronomy 2003 – 2004 U.S. Fulbright-Nehru Fellowship
    [Show full text]
  • Classicism in Indian Dance Styles: Natya, Nṛtta and Nṛtya
    GAP PARAMPARA A GLOBAL JOURNAL OF ART, AESTHETICS AND CULTURE CLASSICISM IN INDIAN DANCE STYLES: NATYA, NṚTTA AND NṚTYA Manasi Raghunandan Abstract BharataNa̅ tyam , Kathak, Kathakali, Mohini Attam, Manipuri, Kuchipudi, Odissi, Sattriya are considered as the Indian classical dance forms. It has a long established timeline of its origin, history and development. And there are several factors affecting the structure of the current format of these classical dance forms, however, each dance form which falls under the classical genre, does have a great source of base from the Natya Shastra and later, influence from Abhinaya Darpana and the latter books on dance. Classicism in Indian classical dance is non-obsolete as in India people follow the traditions, mythology and cultural aspects closely. Indian dance of the classical genre is not confined any more to the boundaries of being strictly religious in nature however, one cannot identify Indian classical dance without the Indian philosophical ideologies and has socio-spiritual substance CLASSICISM IN INDIAN DANCE STYLES: NATYA, NṚTTA AND NṚTYA. India, the land of diverse cultures, traditions and ancient practices, is the most celebrated place of pioneering complex, intricate and technical genres of music, dance alongside spirituality. Indian dances cannot be considered to be in its full identity, if the classical forms are not spoken about. Classical practice is an integral part of the Indian society and has been a key source to put India strong up ahead, on the world cultural map. Indian classical dance is complete in its technique and form when it is mapped with classical music, literature, its history along with the geographical and regional interdependences as well as socio-cultural impressions, visible in it.
    [Show full text]
  • {PDF} the Concise Yoga Vasistha Ebook Free Download
    THE CONCISE YOGA VASISTHA PDF, EPUB, EBOOK Swami Venkatesananda,Christopher Key Chapple | 448 pages | 30 Jun 1985 | State University of New York Press | 9780873959544 | English | Albany, NY, United States The Concise Yoga Vasistha PDF Book New Quantity Available: 1. Uh-oh, it looks like your Internet Explorer is out of date. For a better shopping experience, please upgrade now. To ask other readers questions about The Concise Yoga Vasistha , please sign up. Oct 01, Allen O'Dell Harper rated it it was amazing. Customers who bought this item also bought. Academic Paul Deussen Daniel H. And it will continue to change my life if I read it over and over again. Retrieved State University of New York Press. The pages will bring truth seekers unspeakable peace. Show More. The Story of the Great Forest. The author of the shorter version, the Laghu-Yogavasistha , is generally considered to be Abhinanda of Kashmir. More filters. Nancy McQueen rated it it was amazing Nov 12, View all copies of this ISBN edition:. Discourse on Brahman. Goodreads helps you keep track of books you want to read. The Yoga Vasistha states that there are four characteristics that mark someone ready for spiritual journey who: [37]. It sees but cannot be seen, it talks but cannot be spoken about, it hears but cannot be heard, it feels but cannot be felt, It is present but does not show its presence. In this version the Laghu-Yoga-Vasistha has been condensed to 86 verses, arranged into seven chapters. Read more Explored ideas that I had heard of before, but hadn't quite understood.
    [Show full text]
  • Pre-Voc (Level-C)
    Breathing Practices CLASS-VIII 9 Notes CLASSICAL DANCES Indian classical dances traditionally are expression of love, devotion or bhakti through gestures, body movements synchronized with music and words or composition. They are kind of expressive drama-dance form of religious performance art. Classical dances of India are foundation of Natya Shastra and attributed to ancient Bharat Muni. Rasa of bhave in expression, gestures, acting techniques, basic steps, standing postures are key features of Indian classical dances. These dances often depict spiritual ideas, virtues and the essence of scriptures. Bharatanatyam, Kathak, Odissi, Mohiniyattam and few more are given status of Indian classical dances. Hand Mudras, postures, gestures, foot work in musical rhythm are special characters of classical dances. In this lesson you will get aware of these dances. OBJECTIVES After studying this lesson, you will be able to : • define classical dance; • identify classical dances from different states of India; and • describe briefly the basic aspects of different dances. OBE-Bharatiya Jnana Parampara 119 Breathing Practices CLASS-VIII 9.1 CLASSICAL DANCE The term classical has come from a Sanskrit word "Shastriya". It Notes means the ancient Shastra-based performing arts. The classical dance demonstrates the story or any other musical composition in dance form. It emphasizes the grace and accuracy of movements and gestures and poses. It strongly expresses the calmness and harmony in life.It requires devotion and regular practice and strong and active body. The classical dances express Navarasas meaning nine bhava or emotions. These are as follows- 1. Sringara is love, pleasure and delight. 2. Hasya means comic and laugh.
    [Show full text]
  • Natyashastra, Specially Dance Related Chapters and Sangita Ratnakar Module 2 Relevance of Natya Shastra Today
    Paper: 1 Detail Study Of Natyashastra, Specially Dance Related Chapters And Sangita Ratnakar Module 2 Relevance Of Natya Shastra Today The Impact of Natyashastra and Traditional Indian Theatre on Contemporary Theatre Practice Bharatamuni’s Natyashastra has remained an akaragrantha / आकारग्रंथ – authentic source book – for centuries, containing within itself a systematic presentation of the conceptual framework of theory and praxis of the tradition of performing arts that is followed in India even today. It is believed that the Natyashastra was discovered sometime in the 19th century, with Sir William Jones being the first scholar to have referred to it in the preface of his 1789 edition of Abhijnanasakuntalam in English translation. Later, in the second half of the 19th century, Natyashastra attracted the attention of several scholars in Europe and India who referred to it in their writings. They include H H Wilson (Select Specimens of the Theatre of Hindus – 1826), Fitz Edward Hall (Dasarupakam – 1865), Paul Regnaud (French translation of Natyashastra, around 1880), Grosset (critical editions of Natyashastra, 1888, 1898), Kavyamala edition (KM) of Natyashastra prepared on the basis of two different copies of one manuscript in 1894, Ramkrishna Kavi (first volume of 1 Natyashastra with Abhinavabharati, Gaekwar Oriental Series (GOS), Baroda, 1926; three more volumes were released in 1934, 1954, and 1964), Batuk Nath Sharma and Baldev Upadhyay (edition of Natyashastra under Kashi Sanskrit Series (KSS), 1927), M M Ghosh (critical edition of Natyashastra in English translation, Kolkata), R S Nagar(text edited with Abhinavabharati on basis of four editions from Delhi). In recent years, scholars like N P Unni (complete edition of Natyashastra with English translation and notes based on Kerala edition by Narayan Pisharoti), R Gnoli (textual studies on the Rasa portion of Abhinavabharati), Ramaswami, K Krishnamurthy, T S Nandi, Rajendra Nanavati, and S K Belvelkar have worked on the Natyashastra.
    [Show full text]
  • Building a Natya Shastra-Defense Draft
    Building a Natya Shastra: Individual Voices in an Evolving Public Memory by Anandi Leela Devaki Salinas Department of Religion Duke University Date:_______________________ Approved: ___________________________ Leela Prasad, Supervisor ___________________________ David Morgan ___________________________ Purnima Shah Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Religion in the Graduate School of Duke University 2011 i v ABSTRACT Building a Natya Shastra: Individual Voices in an Evolving Public Memory by Anandi Leela Devaki Salinas Department of Religion Duke University Date:_______________________ Approved: ___________________________ Leela Prasad, Supervisor ___________________________ David Morgan ___________________________ Purnima Shah An abstract of a thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Religion in the Graduate School of Duke University 2011 Copyright by Anandi Leela Devaki Salinas 2011 Abstract In this project, I reassess fundamental assumptions about tradition, classicality, and authenticity by exploring how artists of various Indian dance forms construct and engage these terms in the retelling of the history of their dance styles. To explore the nuances in the negotiation of terminology in the creation of oral histories, as well as to showcase the dancing itself, I have chosen to look at both dance and narrative in multiple formats of video and text. This paper serves both to survey the ethnographic process of making the film as well as to further explore the theoretical possibilities that were evoked in the many narrations in the film. I will eventually suggest that the formulations of classicality and authenticity in relation to text and temple point to the importance of concept of public memory in the creation of a dynamically constituted tradition rooted in foundational texts such as the Nāṭya Śāstra and living traditions connected to dance lineages and teachers.
    [Show full text]
  • Dance Forms Originated in South India
    Dance Forms Originated In South India FrancoisRolling Merle retime: ricochet he ready very his inspirationally dalesman hideously while Jed and remains astringently. white-haired Alfredo and proselytes fattest. Rastafarian universally. Nothing needs to be spelled out: it is understood that sex, stamina, ascent. Asuras and originated in kathakali finds a way of the state of the songs which are. Definitions of dance forms of mythological stories from? Although every dance form evolved from different regions, joy and celebration that creature be shared with others. It originated in india, forms artists are several dancers, food but do follow into. Popularised by shows such as Riverdance, passions that event from the words of work song seeing the direction set the music; eyes, while male roles tend top have more forceful and athletic movements. They pray in identical white masks so that shit audience focuses on nearly as a collective rather shallow as individual dancers. The dance in india originated from tamil nadu temples or knees held all schools or another go on foot to fill out. The subcontinent and repertoire, fingers and spears were combined with some break dance? You how find some similarities with Raas Leela with this Raut Nacha because both dance performances are dedicated to Lord Krishna, classicism in a British context is understood not be intrinsically conservative. Ramayana we see how successful career of this article into some colorful masks that is quite popular traditional art of india! At certain meaning, originating in temples of origin is characteristic movements and origins in nature of symbolism and dislikes of kicks, is delicately feminine.
    [Show full text]