Introduction

Abhinaya, a fundamental aspect of Indian aesthetics, embodies the art of expressive communication. Its essence lies in guiding the audience towards experiencing the profound sentiments, known as "rasa." Originating from Bharata Muni’s Natya Shastra, this concept forms an indispensable element of various Indian classical dance forms.

Six Sub-divisions of Abhinaya:

·       Pindi or oṟṟaikkai-marapu (single-hand tradition)

·       Pinnayal or reṭṭaikkai-marapu (double hand tradition)

·       Anga-kiriyai-marapu (the usage of the action of the body)

·       Nine movements of the head

·       Three movements of the neck

·       Eight glances of the eyes

There are four types of Abhinaya - Angika Abhinaya, Vanchika Abhinaya, Aharya Abhinaya and Sattvika Abhinaya.

Angika Abhinaya of Expression of the Limbs

Angika Abhinaya encompasses the art of expressing emotions through bodily movements. The essence of Angika Abhinaya lies in the portrayal of emotions through bodily movements, particularly through the angas or limbs, which include facial expressions. It involves the intricate coordination of various angas, including the head, hands, waist, and face.

Pratyangas, such as the shoulders, arms, thighs, knees, and elbows, along with upangas like the eyes, eyelids, cheeks, nose, lips, and teeth, contribute to the richness of expression. Hand gestures, known as hastas, hold great significance in conveying emotions and thoughts. Many of these gestures are innate to humanity and easily comprehensible.

There are twelve Upangas:

·       Drishti – expression through eyes.

·       Bhru – expression through eye brows.

·       Puta- expression through eye lids.

·       Tarah – expression through pupis.

·       Kapolou – expression through cheeks.

·       Naasika – expression through nose.

·       Hanu – expression through jaws.

·       Adharah – expression through lower lip.

·       Dasana – expression through teeth.

·       Jihwa – expression through tongue.

·       Cubukam – expression through chin.

·       Vadanam –overall facial expression

Different schools of Abhinaya showcase a wide spectrum of expressions, ranging from the exaggerated to the subtle, from the raw to the refined. Angika Abhinaya can take the form of either Padartha Abhinaya or Vaakyartha Abhinaya. In Padartha Abhinaya, the artist delineates each word of the lyrics through gestures and expressions. Vaakyartha Abhinaya, on the other hand, involves the dancer enacting an entire stanza or sentence, conveying its meaning through movement and expression.

Classification of Angika Abhinaya

Angika Abhinaya forms a vital aspect of classical performance arts, where the body becomes a powerful medium of storytelling. Within this domain, scholars have further refined Angika Abhinaya into subcategories under what is known as Desika Bhedam, offering a deeper understanding of how each body part contributes to theatrical expression.

1. Soochikam

Soochikam involves the use of hands, feet, and sometimes even spoken words to depict elements of nature, such as trees, plants, flowers, and natural surroundings. It is through these gestures that performers bring to life the setting and mood of a scene, effectively painting vivid landscapes with their movements alone.

2. Bhavaabhinayam

Derived from the word Bhava, meaning emotion or expression, Bhavaabhinayam focuses primarily on the subtle yet powerful expressions conveyed through the head and eyes. This form of abhinaya is essential for portraying inner emotions, allowing the audience to connect with the character’s state of mind through nuanced glances, head tilts, and eye movements.

3. Thondam

Thondam is a more holistic form that combines the expressive potential of the head, eyes, hands, and feet. It is a dynamic and integrated style of performance, often used to portray complex emotions or actions that require the full involvement of the body. The coordination of multiple limbs in this form enhances the clarity and depth of the performance.

4. Latchnikam

Although less defined in common literature, Latchnikam is recognized as a part of this classification. It likely refers to the refined and stylized gestures or techniques. These often involve codified patterns of movement and posture that lend a distinctive aesthetic to the performance.

Vachika Abhinaya or Expression of Speech

Vachika Abhinaya pertains to the expression conveyed through speech. It plays a prominent role in drama, where dialogue is used as a medium of expression. Similarly, in musical performances, singers utilize speech to convey emotions through their singing. In certain Indian classical dance styles like Kuchipudi and Melattur Bharatanatyam, dancers often synchronize their lip movements with the lyrics of the songs, enhancing the padartha abhinaya (expression of the meaning). Kerala is known for its stage art forms, such as Koodiyattam, Nangyar Kooothu, Ottan, Seetangan, Parayan, Mudiyettu, and the three types of Thullal, where Vachika Abhinaya holds a significant position.

Aharya Abhinaya or Expression through Costume and Stage

Aharya Abhinaya encompasses the use of costumes and physical adornments to enhance the representation of a play. These elements play a crucial role in creating a visual appeal and establishing a connection between the audience and the performers. The stage decorations, including lighting and scene-related accessories, contribute to the overall ambiance, enriching the emotional experience shared by the audience and artists.

In both dramas and dance dramas, costumes and makeup distinguish characters based on factors such as gender, race, sect, class, or social status, adding an element of realism to the production. The stage decorations, which encompass lighting, props, and accessories, directly contribute to the scene`s depiction and further enhance the emotional resonance between the audience and the artists.

For instance, in Kathakali, distinctive costumes and makeup are employed to portray different characters. The virtuous characters are adorned with green makeup, while the demons don the Kati vesham, characterized by a red-painted nose. However, in solo dance performances, Aharya Abhinaya is conventionally followed, focusing on the costume and adornment of the dancer to enhance the visual presentation.

Classification of Aharya Abhinaya
In traditional Indian theatre, Aharya Abhinaya transforms the stage into a believable world, setting the tone and context through carefully chosen materials and objects. This aspect of abhinaya is further divided into distinct categories based on the elements it incorporates:

1. Sandima

Sandima encompasses all wearable and threadable materials used in the performance. This includes textiles, animal skins, leather accessories, mats, garlands, bead strings, and similar items. These materials are integral in defining the character’s identity, be it a regal king adorned with intricate beadwork or a forest dweller wearing floral garlands. Through Sandima, the attire and accessories become symbolic extensions of the character's social status, setting, and personality.

2. Viyajima

This category pertains to the use of mechanical devices or stage machinery within a performance. Viyajima brings an element of theatrical spectacle, enabling dynamic scene transitions, special effects, or dramatic entrances and exits. These mechanical aids help enhance realism or elevate the grandeur of a scene, particularly in mythological or epic narratives.

3. Seshtima

Seshtima includes movable stage furniture and larger props such as thrones, palanquins, or wheeled platforms like the simhaasana (lion throne). These pieces not only serve functional purposes but also contribute to the visual richness of the production. Their presence on stage signals power, divinity, or royalty, and they are often central to the classical theatre performances.

Sattvika Abhinaya or True Expressions

Sattvika Abhinaya involves the profound communication of mental messages, emotions, and images from the performer`s innermost being to the audience. According to Bharatha Muni in Natya Shastra, sattva originates in the mind. However, it is important to note that Sattvika Abhinaya should not be confused with facial expressions, which fall under Angika Abhinaya. This form of expression focuses on conveying mental messages, emotions, or images through the eyes. The dancer or actor must draw upon their own authentic experiences, allowing them to captivate the audience`s attention and evoke an empathetic response.

This human activity, traditionally categorized as pertaining to the mind, voice, and body, requires the artist to delve deep within and bring forth authentic emotions that resonate with the spectators. By doing so, they establish a connection that transcends mere performance and invites the audience to partake in a profound and shared experience.

In classical dances, there are eight types of Sattvika Abhinaya:

·       Motionless

·       Perspiration

·       Change of voice

·       Change of colours

·       Trembling

·       Horrification

·       Tears

·       Fainting

Lokadharmi Abhinaya and Natyadharmi Abhinaya

Lokadharmi and Natyadharmi are two distinct forms of expression or Abhinaya as defined in the Natya Shastra. Natyadharmi refers to the theatrical-oriented approach, while Lokadharmi is rooted in the portrayal of everyday life. These divisions highlight the contrast between stylized and realistic modes of expression.

Natyadharmi Abhinaya is characterized by its poetic and stylized nature, adhering to codified techniques of presenting emotions and expressions on stage. It involves a deliberate departure from natural life, as it takes elements from reality and presents them in a suitably stylized manner. This form of expression is often seen as more artistically refined due to its heightened aesthetic appeal. However, it also requires skill and interpretation, as the possibilities for conveying emotions and poetic lines are endless.

Lokadharmi Abhinaya emphasizes a realistic and un-stylized portrayal, drawing inspiration from the daily activities of people. It is not bound by prescribed gestures or movements, as in the case of stylized acting. Instead, it incorporates its own methods of exaggeration, emphasis, improvisation, and playfulness, which are inherently non-realistic. Lokadharmi Abhinaya captures the essence of everyday life and resonates with a sense of authenticity.