Histrionics or angikabhinaya in Indian theatre includes gesticulation and movement of limbs. Anga, pratyanga and upanga are the three ways to express angikabhinaya. The head, hands, chest, sides, waist and feet are called angas. The neck is also considered as an anga. The shoulder-blades, arms, back, abdomen, thigh and shanks are called pratyangas. Elbows, knees and the neck are also added to the list of pratyangas. The shoulders, eyes, eye-brows, cheeks, nose, jaws, lips, teeth, tongue, chin and face are called upangas. Then there are the heels, ankles, toes and fingers. Angas, pratyangas and upangas are to be used in every dance. When an anga (major limb) moves, the pratyanga and upanga also move.

In angikabhinaya the different parts of the body are described and motions and gestures and their significance are assigned. The head is described as akampita when it is moved slowly up and down, and when this movement is done quickly it`s termed as kampita. There is a distinct significance for each movement. The glance changes according to the emotion and the pupils move in different ways to express diverse sentiments and situations. Mudras or gestures by fingers are the most powerful means of expression in a dance. In the Natyashastra, gestures by fingers are said to include the divine action of celestial dancers and their application to the feelings and aspirations of human beings. Gestures of the hand signify different objects. For example, when the four fingers are outstretched parallel to one another and the thumb is bent, the flag hand is formed. When the hand is held against the forehead it is done to express blows, injuries, oppressions, delight, or arrogance. The same posture of the hand with the fingers separated from one another indicates the glare of heat, torrential rain or flowers.

The movements of chest, flanks, abdomen, hips, thighs, feet and legs are also important part of histrionics. The Natyashastra deals intricately with different caris, mandalas and gatis. Cari is an attempt to set aright the feet, thighs, chest and abdomen. It is employed in dancing, movements, dropping of weapons and in battle. Thus natya is dependent on cari. In natya, there is no movement of limbs without cari. The Natyashastra states that there are thirty two caris and they are divided into two classes: earthly (bhauma) and heavenly (akasagami). According to the Natyashastra, there are twenty mandalas which are divided into earthly (bhauma) and heavenly (akasika). But the Abhinayadarpana on the other hand states that there are only eight caris and ten mandalas.

The Natyashastra devotes a full chapter on an elaborate description of how animate and inanimate objects can be represented through abhinaya, particularly, angikabhinaya. It deals with methods of unfolding through bodily gestures natural phenomena such as dawn, night, twilight, day, the six seasons and the sky, mountains, oceans, stars, moonlight, heat, wind and the mid day and evening sun, lightning; human beings and animals; objects stationed in heaven such as gods, expressions of contentment, anger, envy, calamity, melancholy, fear, intoxication, bravery and a variety of emotions. For example cold is indicated by people of lower positions by trembling, clenching their teeth, moving their lips and making a `si, si` sound. Darkness is portrayed by people by slipping and grounding their way with their hands. Expression of joy is shown by one embracing the other`s body as well as by smiling eyes. Each and every part of the body is essential to signify some emotion or mood. Deep significance lays in the manner, in which the head is shaken, the eyes and brows are moved; the cheeks, nose, lips, chin and neck can all be used to suggest subtle themes.

In Indian theatre there are many themes which are indicated by means of tokens and gestures. The art of Histrionics or angikabhinaya was fully developed and an object, which was not procurable, must have been represented by means of bodily gestures.