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The need to express oneself through art is a basic urge of every human being. In fact, this ability to perceive beauty and art as well as using it as a
medium of expression is a special faculty of a human being which distinguishes him from other animals. Beauty and art are inter-related concepts which are born out of human psyche. Psyche makes the body living;
however, it is not just an abstract principle. It is a function of the body which influences every human activity and determines the course of its action and thought. Psyche, in a way, also emerges through the
artistic and cultural developments of a human society and, therefore, a study of the artistic concepts traditionally practised in a society can give us important clues in understanding the psyche of that particular
race. Natya, the art of histrionics, has been a part of Indian culture for thousands of years and in its analysis and concepts, one can find a clear reflection of typical Indian psyche.
Abhinaya is an inseparable component of Natya, the ancient Indian system of dramaturgy. The principles of Natya have been laid down by Bharata in his
exhaustive treatise on the subject known as Natya Shastra which is almost 2000 years old. Bharata's Natya is a composite performing art form of theatre which combines not only the arts of dance, drama and music but
also literature, painting and sculpture. Today's well-known classical dance styles like Khathakali and Bharat Natyam as well as the lesser known theatre forms like Kudiattam Yaksagana still follow Bharata's
technique and his concept of Abhinaya. The Natya with fourfold Abhinaya as its backbone was conceived by Lord Brahma, the Creater of Vedas and handed over to Bharata for codification as well as practical usage.
The literal meaning of the word Abhinaya has been explained by Bharata thus:
"Abhi-purvas tu nin-dhatur abhimukhyartha isyate /
Yasmat Padarthan nayati tasmad abhinayah smrtah //"
'Abhi' is the prefix meaning 'towards' and 'ni (naya)' is the root meaning to carry. So, Abhinaya means to carry towards, i.e. to carry the spectator
towards the meaning. Thus, Abhinaya can be called a vehicle of Natya through which the spectator experiences the particular emotions of the dramatic character that is to lead him towards Rasananda - the ultimate
bliss which is the aim of Natya.
The above definition of 'Abhinaya' makes it clear that in terms of ancient Indian dramatic theory, Abhinaya does not mean only acting, miming or facial
expressions. The term applies to all the related aspects of histrionics which contribute in conveying the poetic content of drama to the spectators. Bharata has defined four major types of Abhinaya, viz., Angika
Abhinaya, Vacika Abhinaya, Aharya Abhinaya and Sattvika Abhinaya.
Angika Abhinaya means to convey the meaning through body movements. This involves natural as well as symbolic gestures, postures and movements of the
major and minor parts of the body, including the Mukharaga, which are expressions conveyed through the subtle movements of facial muscles. Bharata's description of the usages of body limbs for conveying various
meanings is a detailed scientific study of human behaviour.
Vacika Abhinaya is the expression through speech. Apart from Natya as a literary piece, this includes the actor's skill at delivering the dialogues as
well as dramatist's at using the correct language. Bharata has discussed in detail the different Vrttas, metres in poetry; the Laksanas, figures of speech; the Gunas and Dosas, the strong and weak points of poetic
writing as well as diction.
The aspect of Aharya involves Rangabhusa - the make-up and costumes, ornaments etc. - of the Patra, the dancer-actor, as well as the Nepathya, the
stage props and decor. Bharata has prescribed specific colours, hair-styles as well as costumes for particular characters.
Sattvika Abhinaya is mentioned as the fourth kind of Abhinaya. It is regarded as the expression of Sattvika-s, i.e. the peculiar emotional states
producing the particular physical reactions like Romanca (horripilation), Asru (tears), Sveda (perspiration), Vaivarnya (change of complexion) etc.
Thus, Abhinaya can be termed as a particular system of dramatic presentation which uses all these aspects of histrionics, viz., Angika, Vacika, Aharya
and Sattvika. This fourfold Abhinaya performed along with Sangita, i.e., the triple symphony of Gita, Vadya and Nrtya, produces Natya - the total theatre, as conceived and described by Bharata.
Having seen the definition of Abhinaya, let us now go deeper into the details of these four aspects as given by Bharata. To understand the full purport
of the concept of Abhinaya, one must remember that the four aspects mentioned earlier do not exist in isolation but are interdependent. While Sattvika is the pinnacle of emotion, it is dependent on Angika and Vacika
aided by Aharya to heighten it's effect.
As already mentioned, Bharata's description of Angika is the detailed study of all the possible gestures, postures and movements of each and every part
of the body. He divides body into three major parts - the Anga, Pratyanga and Upanga.
- The Angas are six - Siras, Hasta, Vaksas, Parsva, Katitata, Padz. Some consider Griva to be the seventh.
- There are six Pratyangas - Skandha, Bahu, Prstha, Udara, Uru, Jangha. Some consider Manibandha, Kurpara and Janu also as Pratyanga
- There are twelve Upangas or minor parts of the Siras or face which are important for Mkukharaga or facial expression. These are - Drsti, Bhru,
Puta, Kapola, Nasika, Adhara etc.
Bharata has defined postures, movements and usages for all these. Without going into details of all the definitions and usages, which one can refer to
in the Natya Sastra, I would like to stress two points.
Firstly, through the details of Angika, Bharata wants to stress the importance of Natyadharmi or the specific usage of total body movement in Abhinaya.
For instance, to say "you and me" in a realistic way as in today's theatre, it could be purely through spoken words or with a slight nod of head or eyes. However, in Bharata's technique, it would involve a
rhythmic step forward and backward as well as an elaborate arm movement within the particular areas around body.
Secondly, an important aspect of Angika is Hastabhinaya or conveying the meaning through Hastas or specific gestures of hands. The tradition of using
Hastas as expounded by Bharata and followed by the later Sanskrta dramatic theorists is still very much alive in our classical dance traditions. Hastas are of two types - Asamyukta (executed with one hand) and
Samyukta Hastas (a formation with both hands together). Bharata has also defined the Hasta-Pracara (hand positions), Hasta-Recaka (hand moving along with arm movement) and Hasta-Karana (the turning movement of
hand). All this artificial gesticulation and stylish body language transforms any emotion into a beautiful kinetic form which takes Natya into the realm of fantasy, helping the process of Rasanubhava, i.e., the
aesthetic flavour of the universalised emotion to be experienced by the spectators through the art of theatre.
Vacika in Bharata's Abhinaya contributes the spoken 'word' element which ideally should be full of Dhvani' or the suggested meaning. The dialogues are
either spoken or sung by the Patra or the accompanying musician. The words provide only the germ of an idea which is expanded further through Angika. Music, i.e., the use of musical notes to create various types of
moods or to accentuate the colour of emotions, is an important factor of Bharata's Vacika. Added to it is the proper use of Tala and Laya system.
Aharya plays a relative role in Bharata's Abhinaya depending on the Vrtti (type) or Dharmi (mode) of the presentation. In Kaisiki Vrtti which is full
of dance and Natyadharmi which involves symbolic gestures, Aharya is represented with Angika. For instance, in Lasya or solo Abhinaya presentation by a single dancer, portraying the Nayika, will show the season of
spring by showing the flowers and the bees with her hand gestures, the pleasant atmosphere by some dancing steps instead of using painted curtain or the other props. Instead of using real ornaments, flowers,
garments etc., she would show them with actions and gestures while she is adorning herself to welcome her beloved. However, as in Kathakali, a symbolic use of costumes and make-up is also made to create a larger
than life image in order to project the magnificent characters of the epics like Mahabharata. In Kathakali theatre, dominant colours of make-up like green, black, red are used symbolically to show different types of
characters of the drama. It must be noted that Aharya is the only external vehicle other than body used in Abhinaya, and this, too, is sometimes replaced by Angika.
Having seen how the Angika, Vacika and Aharya are utilised in Abhinaya, let us now proceed to the last and most important aspect of Abhinaya, i.e.,
Sattvika. At the outset, one may consider the probable meanings of Sattvika. Sattva is mind, so, Sattvika is that which is a creation of mind. It is further described as the external indication of the creation of
mind. It is further described as the external indication of internal feeling or sentiment. Some scholars translate Sattvika Abhinaya as a 'psycho-physical' representation.
However, these meanings do not really give us the idea in totality about the true nature of what is termed as Sattvika by Bharata.
Initially, if Sattvika means 'born out of mind', then all the emotions are born in mind before they are conveyed through the vehicle of Abhinaya. In
Bharata's own words,
"Nirvikaratmakan Sattvan Bhavayan Bhava Ucyate" which means that an emotion is born in tranquil mind. Then why is the separate category of
Sattvika created?
Secondly, if Sattvika is the 'external indication' of the 'internal feeling', then external indication of the feeling has to be a bodily reaction,
i.e., Anubhava which becomes a part of Angika Abhinaya. Then what is so different and special about Sattvika?
And lastly, since Abhinaya is essentially a manifestation, a vehicle of conveying the emotions, every expression becomes a two-fold, Bhava-Anubhava
process. In this sense, all Bhavas can be termed 'psycho-physical'. Why then Bharata defines Sattvika Abhinaya as a different aspect?
To find out the true nature of Sattvika as conceived by Bharata, it becomes essential to take a closer look at what are defined as Sattvika Bhavas.
These are mentioned to be eight:
- Stambha means motionlessness, numbness that comes out of emotional shock.
- Sveda is perspiration.
- Romanca is a thrilled state of mind when the hair on the body stand erect (horripilation).
- Svarabhanga is a change in the tonal quality of voice due to overstress of emotion.
- Vepathu is shivering.
- Vaivarnya is a change in complexion (colour and skin texture of the face).
- Asru (tears).
- Pralaya is falling down due to fainting.
These eight have been called Sattvika Bhavas - a separate category of emotions. It is easy to note the following points from these 'Sattvikas':
Perspiration or tears are not actually the emotions, i. e., Bhavas, but Anubhavas, physical reactions usually seen at the height of emotional
experience.
It should also be noted that these Sattvika Anubhavas do not pertain to a particular emotion, for instance, tears start rolling not only with extreme
sorrow but also with extreme joy. One can go red not only with anger but also with Lajja. The hair on body will stand not only with fear but also with any so called 'touching' experience. So, it can be seen that the
same Sattvika Bhavas can occur in absolutely contrasting emotions.
Another important point about the above mentioned Sattvika is that these Anubhavas, i.e., perspiration or loss of colour cannot be 'acted' just as one
can activate the movements of the other limbs. In other words, our brain cannot "order" the body to produce these actions as it can "order" the other Anubhavas like bending the head down or
looking sideways, walking up and down etc. These Sattvikas are essentially the external reactions of the change in the internal body organisms which are activated by acute emotion alone. Sattvikas are indeed bodily
reactions; yet this is where Sattvika Anubhava differs from mere Angika. In fact, only when Sattvika underlines Angika and Vacika, the Abhinaya is fully able to convey the emotive content of Natya.
The difference between mere Angika, and Angika infused with Sattvika, can be clearly felt by the experienced spectator.
Going back to Bharata's explanations like "Sattvam Nama Manah-Prabhavam", Sattva is motivated by mind, and "Manasah Samadhau
Sattvanispattir bhavati", Satva is produced in the 'equipoised' state of mind, one can realise that to reach this state, an actor requires complete identification with the character. This is Sattva, and Bharata
correctly regards Sattvika as an important aspect of Abhinaya. It is easy to experience Sattvikas in real life but to produce them in the make-believe world of Natya requires tremendous concentration, knowledge of
human mind and technical skill on the part of the actor as well as the dramatist.
To summarise, Sattvika can be called the physical reaction of the internal organs motivated by acute emotions, the process which requires the total
involvement of the actor with the character. Without Sattvika, Angika and Vacika Abhinaya will become lifeless, insipid and ineffective.
Ultimately, it is Sattvika which heightens the emotional appeal of Angika, Vacika and Aharya. Knowing this, Bharata rightly called Abhinaya resonating
with Sattva as the supreme acting. If Angika and Vacika are the backbone of the body of the "Abhinaya Purusa" and Aharya, it's limbs, then Sattvika is its soul.
This is Bharata's concept of Abhinaya. The above discussion makes it evident that to Indian psyche, the art of Natya with Abhinaya as its integral
component, is like an extension of the spiritual as well as physical self. Indians perceive Natya as a total theatre, i.e., an audio-visual experience which has moral as well as entertainment value. Though
metaculously analysed to the minutest detail and based on rules and regulations, this art is for classes as well as masses. Even today, dramatics (with TV and cinema as its extensions), by and large, remains to be
the most popular medium of art in India.
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