In front of the mirror : Abhinaya Darpana
Nrityachuramani Rahul Dev Mondal
(Assistant Professor, Rabindra Bharati University , Department of Dance )
“Angikam Bhuvanam Yasya, Vachikam Sarva Vangmayam, Aaharyam Chandra Taradi, Tam Namah Saattvikam Shivam”
Whose bodily movements is the entire universe; whose speech is the language and literature of the entire Universe; whose ornaments are the moon and the stars; Him we worship, the serene Lord Shiva. ..!
Bharatnatyam Dance is considered to be over 2000 years old. There are several texts starting with Bharata Muni’s Natya Shastra (200 B.C.E. to 200 C.E.) provide information on this dance form. The Abhinaya Darpana by Nandikeswara is by far one of the main sources of textual material, for the study of the technique and grammar of body movement in Bharatnatyam Dance.
The shlokas of Abhinaya darpana are of utmost importance to a disciple of this dance form. Not only Bharatnatyam, the abhinaya bheda’s of Kathak are also mentioned in the text. So therefore a knowledge about Abhinaya Darpana is kind of important and goes hand in hand with dance.
Coming to the life style of Acharya Nandikeshwara, no ones exactly has any information about that. Some believe that he might be one of the main disciples names Tandu or Nandi of Lord Shiva’ army, who gave the knowledge of Tandav-nritya to Bharatmuni. This is just an assumption, also creates confusion because Nandikeshwara in Abhinaya Darpana has showed a lot of trust and faith in Bharatmuni in each aspect of this book.
Nandikeshwara seems to have preceded Bharata, according to Ramakrishna Kavi. Some consider him even to be Bharata’s master. The most concrete example of Nandikeshwara’s teachings have survived thanks to Bhasa. The poet and playwright Bhasa who wrote in Sanskrit, scrupulously executed “in his stage direction a good number of theoretical instructions received from Nandikeshwara , overtly disregarding the strict injunctions formulated by Bharata.
Abhinaya Darpana is a lagu granth (an epic) consisting of 3242 shlokas.
The Abhinaya Darpana is widely used as a practical reliable guide by the performing artists, the teachers and the learners alike, in order to hone and refine the technique of Angika- abhinaya. The Bharatanatya, as it is taught and practiced today, is closely associated with Abhinava Darpana, which it regards as a sort of comprehensive training manual or a part of the curriculum on the techniques of dance, body movements, postures etc., especially related to the Nrtta aspects of Dance performance.
Nrtta is Angikabhinaya, which is pure and abstract dance, with stylized beautiful movements of limbs, neck, head, hands; feet etc., performed to music and especially to rhythm. Here, the Hastas (Nrtta-hastas) are not intended to convey any particular meaning; and, they do not also communicate a Bhava or a Rasa; but, they do contribute to the grace and beauty that the Dance offers. Nrtta, as Angikabhinaya, is much more than a decorative element; it, indeed, is a specific and technical aspect of a perfect dance performance.
Nrtya signifies an Art that combines in itself the beautiful movements of Nrtta (Angikabhinaya) with meaningful expressive eloquent gestures of Hastas, to convey thoughts, emotions and also to indicate objects (Abhinaya).
Though the gestures of the Abhinaya Darpana are primarily related to Nrtta, its repertoire of Hasta, Mukhaja, and Caris etc can very well be adopted (Viniyoga) to the Abhinaya aspects in narrative depiction of a theme through dance movements, providing expressive interpretations of the various shades of the meaning of the words, sentences of the song (Sahitya), bringing out its emotional content. The Nrtya, in the present day, is the very epitome, symbol and the soul of chaste classical Dance. And, Nrtta plays a very large part in that aesthetic Art expression.
The emphasis on Angikabhinaya in Nrtta requires the dancer to be in a fit physical condition, in order to be able to execute all the dance movements with grace and agility; especially during the sparkling Nrtta items according to the Laya (tempo) and Taala (beat).
According to the text, the perfect posture that is, Anga-sausthava, which helps in balancing the inter relationship between the body and the mind, is the central component for dance; and, is most important for ease in the execution and carriage. For instance; the Anga-sausthava awareness demands that the performer hold her head steady; look straight ahead with a level gaze; with shoulders pushed back (not raised artificially); and, to open out the chest so that back is erect. The arms are spread out parallel to the ground; and, the stomach with the pelvic bone is pushed in.
The meaning of Abhinaya Darpana is the mirror in which Anga, Upanga and Pratyanga uses are reflected. Not only Bharat Natyam but Kathakali, Manipuri, Odissi, etc regulate according to this book’s rules. The amazing thing is that none of these dance blessing for those who are learning dance.
According to Lingapuranam Purva, Nandikeshwara is the son of a blind woman. She used to pray before God for an intelligent son and after getting a son she named him ‘Nandi’. Nandi became a scholar who was then called Nandikeshwara. He had a deep knowledge of Natya Kala, Music, History and Saundarya Shastra.
Bibliography
i Nandikeshwara’s Abhinaya Darpanam edited and translated by Dr Manmohan Ghosh – Introduction
ii Nandikeshwara’s Abhinaya Darpanam edited and translated by Dr Manmohan Ghosh-Introduction
iii Abhinaya Darpanam, verse 1
iv Dance Gestures ‘Mirror of Expressions’ Abhinaya Darpanam, Sanskrit with English translation by P Ramachandrashekhar, Page 161, verse 324
v Gitananda Giri Swami. Mudras. Satya Press, Ananda Ashram, Pondichery.1975
vi Gitananda Giri Swami. Yoga: Step By Step, Satya Press, Ananda Ashram, Pondicherry. 1970
vii Hinduism Today July 1992.Yogi Playwright Infusing Indian Theatre With More Atma and Altruism.
Viii Rukmini Devi, “The Spiritual Background of Bharata Natyam.” Classical and Folk Dances of India. Bombay: Marg Publications, 1963.
ix Khokar, Mohan, “NATYA Bhagavata Mela and Kuchipudi.” Classical and Folk Dances of India. Bombay: Marg Publications, 1963.
x Kothari, Sunil, Bharata Natyam. Mumbai: Marg Publications, 2000.
xi Kothari, Sunil, Photo Biography of Rukmini Devi. Chennai: The Kalakshetra Foundation
xii Chandrasekharan, K., “The Kalakshetra’s “Ramayana”.” The Illustrated Weekly of India 20 Aug. 1961: 36-38.
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