Natya Sastra Overview

Creation of Natya

• Brahma meditated on the four Vedas to create the Fifth Veda.
• Pathya (speech) comes from Rigveda, Gana (music) from Samaveda, Abhinayam (expression) from Yajurveda, Rasa (emotion) from Atharvana Veda.
• The outcome, Kridaniyakam, is known as Natya, which refers to staged plays based on historical and mythological stories.

Natya Sastra

• Contains regulations for writing and producing plays.
• Provides guidance for playwrights and actors.
• Taught by Brahma to Bharatamuni, who then educated his hundred disciples, known as Bharatas or Bharataputras.

Modes of Expression

• Three initial Vrittis (modes of expression) were Bharati (speech), Arabhati (virile), and Satwati (emotional).
• Bharatamuni requested the creation of the fourth Vritti, Kaisiki (graceful expression), which Brahma fulfilled by creating 24 Apsaras.
• Vocal music was entrusted to sage Narada and instrumental music to sage Swati.

First Performance

• The divine troupe’s initial play, Asuraparajayam (the defeat of demons), was interrupted by angry demons but later performed successfully in a closed theater.

Presentation to Shiva

• The troupe performed two plays for Lord Shiva: Amritamadhanam and Tripuradaha.

Classical Dance Forms

• Bharatanatyam: Originated from Tamil Nadu, previously known as Sadir, performed by Devadasis in Hindu temples. Dates back to the 2nd century B.C. It follows conventions outlined in Natya Shastram and Abhinaya Darpanam.

• Kuchipudi: Developed in Andhra Pradesh by Siddhendra Yogi. Historical sources trace its origins to the 15th century. Primarily a dance-drama style, it gained popularity for Bhama Kalapam.

• Kathak: North Indian dance form, derived its name from Kathakaars (storytellers). Evolved during the Bhakti movement and flourished in Mughal courts. Features three gharanas: Lucknow, Jaipur, and Benaras, focusing on the life of Krishna.

• Odissi: Originating from Odisha, combines Mahari (devadasis) and Gotipua styles. Mentioned in the Natya Shastra. Used to be part of worship at Jagannath temples, emphasizing Bhakti Ras.

Adavu

• Fundamental rhythmic movements representing basic dance steps.
• A dance unit consisting of coordinated movements of body parts, taught at the start of dance training.

Abhinaya

• Represents the act of conveying drama to an audience, divided into four types:
  • Angika: Body expressions.
  • Vachika: Speech expressions.
  • Aharya: Costume and makeup expressions.
  • Sattvika: Emotional expressions.

Body Divisions in Dance

• Angas: Major body parts including Siras (head), Hastas (hands), Vaksha (chest), among others.
• Upangas: Minor parts, including Drishti (eyes), Bhru (eyebrow), and Nasika (nose).
• Pratyangas: Additional body parts like Skanda (shoulder) and Janu (knee).

Hastas (Hand Gestures)

• Asamyutha Hastas: Single hand gestures, including Pataka (flag) and Mayura (peacock).
• Samyutha Hastas: Double hand gestures like Anjali (salutation) and Shakti (power).

These notes capture essential elements of Natya, classical dance forms, and key terminologies related to Indian dance.

Explore the fascinating creation of Natya, the fifth Veda that encompasses dramatic arts. Learn about its origins from the four Vedas and the structure outlined in the Natya Sastra, including guidance for playwrights and performers. Discover the modes of expression and the inaugural performance led by divine figures.