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Questions and Answers
In the context of Bharatanatyam, what is the quintessential distinction between Nritta and Nritya, considering their expressive and structural elements?
In the context of Bharatanatyam, what is the quintessential distinction between Nritta and Nritya, considering their expressive and structural elements?
- *Nritta* emphasizes abstract rhythmic patterns devoid of emotional expression, whereas *Nritya* integrates stylized gestures to convey rasa and psychological states. (correct)
- *Nritta* necessitates complex narrative structures akin to dramatic performances, while *Nritya* focuses exclusively on showcasing technical virtuosity through intricate footwork.
- *Nritta* primarily employs spoken word and dialogues to convey emotive expression, starkly contrasting with *Nritya's* reliance on pure dance movements for emotional evocation.
- *Nritta* and *Nritya* are synonymous, differentiated only by the regional dialect in which they are performed; both equally emphasize expressional and abstract components.
How does the classification of hasta prachara within the Natya Shastra fundamentally differ from its practical application in conveying specific emotions or narratives in Bharatanatyam?
How does the classification of hasta prachara within the Natya Shastra fundamentally differ from its practical application in conveying specific emotions or narratives in Bharatanatyam?
- *Hasta prachara* are primarily didactic tools instructing basic dance movements and, therefore, have no practical bearing on expressive communication within Bharatanatyam.
- The theoretical framework of *hasta prachara*, which outlines three categories, offers a simplified interpretation compared to its extensive utilization in conveying intricate storylines. (correct)
- The Natya Shastra describes *hasta prachara* as exclusively symbolic and representative of natural phenomena without any applicability to human emotions or gestures.
- The Natya Shastra rigidly defines *hasta prachara* as purely decorative elements, while in practice, they facilitate nuanced character portrayal and complex emotional landscapes.
In the performance context of Bharatanatyam, how does the role of adavus relate to the construction and interpretation of complex rhythmic and spatial patterns?
In the performance context of Bharatanatyam, how does the role of adavus relate to the construction and interpretation of complex rhythmic and spatial patterns?
- *Adavus* are the fundamental units that delineate specific emotional states, allowing dancers to communicate feelings directly through standardized movements.
- *Adavus* are the foundational rhythmic and spatial building blocks which, when sequenced, articulate sophisticated choreographic vocabularies imbued with cultural and artistic meaning. (correct)
- *Adavus* are merely basic exercises for dancers and have no compositional relevance to the broader structure of Bharatanatyam performances.
- *Adavus* function as abstract geometric forms divorced from emotional or narrative content, thereby creating complex visual displays.
Assess the impact of the tri-kalam concept on the nuanced articulation of emotion and storytelling within a Bharatanatyam performance.
Assess the impact of the tri-kalam concept on the nuanced articulation of emotion and storytelling within a Bharatanatyam performance.
Evaluate the theoretical and practical ramifications of the Samayukta Hastas on both the representational and abstract dimensions of the Abhinaya in Bharatanatyam.
Evaluate the theoretical and practical ramifications of the Samayukta Hastas on both the representational and abstract dimensions of the Abhinaya in Bharatanatyam.
How does the structure and application of a 'Viniyoga Shloka' uniquely augment the expressive potential of a 'Hasta' within the traditional Bharatanatyam dance form?
How does the structure and application of a 'Viniyoga Shloka' uniquely augment the expressive potential of a 'Hasta' within the traditional Bharatanatyam dance form?
Critically evaluate the assertion that the Sthanaka Bheda in Abhinaya Darpanam serve merely as rudimentary postures rather than nuanced expressions of character and emotion.
Critically evaluate the assertion that the Sthanaka Bheda in Abhinaya Darpanam serve merely as rudimentary postures rather than nuanced expressions of character and emotion.
How do the Griva Bhedas, as delineated in the Abhinaya Darpanam, transcend mere physical movements to embody emotive and communicative facets within a Bharatanatyam performance?
How do the Griva Bhedas, as delineated in the Abhinaya Darpanam, transcend mere physical movements to embody emotive and communicative facets within a Bharatanatyam performance?
To what extent does the effective utilization of Drishti Bheda shapes the audience's perception and emotional connection to the characters and narrative being conveyed?
To what extent does the effective utilization of Drishti Bheda shapes the audience's perception and emotional connection to the characters and narrative being conveyed?
Analyze the interrelation between the theoretical underpinnings of Laya (tri kala) and its manifestation in practical Bharatanatyam choreography to ascertain its effects on the overall aesthetic experience.
Analyze the interrelation between the theoretical underpinnings of Laya (tri kala) and its manifestation in practical Bharatanatyam choreography to ascertain its effects on the overall aesthetic experience.
What is the impact of mastering diverse speeds of Jaati when interpreting and performing adavus in Bharatanatyam?
What is the impact of mastering diverse speeds of Jaati when interpreting and performing adavus in Bharatanatyam?
What role do the recitations of Chaturshra Jaati and Tishra Jaati play in the sophisticated integration of rhythmic patterns within a Bharatanatyam performance?
What role do the recitations of Chaturshra Jaati and Tishra Jaati play in the sophisticated integration of rhythmic patterns within a Bharatanatyam performance?
In Bharatanatyam, how do interconnected movements among the Anga, Pratyanga, and Upanga synergistically influence the expressiveness and aesthetic appeal of an Adavu?
In Bharatanatyam, how do interconnected movements among the Anga, Pratyanga, and Upanga synergistically influence the expressiveness and aesthetic appeal of an Adavu?
In what way do the prescribed hand gestures (Hastas) shape the narrative and emotional landscape in Bharatanatyam, particularly when juxtaposed against the backdrop of the other abhinayas?
In what way do the prescribed hand gestures (Hastas) shape the narrative and emotional landscape in Bharatanatyam, particularly when juxtaposed against the backdrop of the other abhinayas?
Given that the Natya Shastra outlines specific guidelines for Hasta Prachara, evaluate its relevance in contemporary Bharatanatyam.
Given that the Natya Shastra outlines specific guidelines for Hasta Prachara, evaluate its relevance in contemporary Bharatanatyam.
Considering the detailed enumeration of hand gestures (Hastas) in texts like the Abhinaya Darpana, how do contemporary Bharatanatyam practitioners balance adherence to these traditional forms with the need to innovate new expressive vocabularies?
Considering the detailed enumeration of hand gestures (Hastas) in texts like the Abhinaya Darpana, how do contemporary Bharatanatyam practitioners balance adherence to these traditional forms with the need to innovate new expressive vocabularies?
How does the dancer's understanding and portrayal of Rasas (emotions) impact their execution of adavus, specifically in terms of rhythm, tempo, and spatial dynamics?
How does the dancer's understanding and portrayal of Rasas (emotions) impact their execution of adavus, specifically in terms of rhythm, tempo, and spatial dynamics?
In what ways do the varied stepping techniques, combined with hand movements, contribute to the storytelling process?
In what ways do the varied stepping techniques, combined with hand movements, contribute to the storytelling process?
Analyze the effects on choreographic narratives, by emphasizing facial abhinaya.
Analyze the effects on choreographic narratives, by emphasizing facial abhinaya.
Within the traditional framework of Bharatanatyam, how would the misinterpretation and representation of an Adavu potentially affect its inherent structure, rhythmic integrity, and expressive capacity?
Within the traditional framework of Bharatanatyam, how would the misinterpretation and representation of an Adavu potentially affect its inherent structure, rhythmic integrity, and expressive capacity?
Considering the structured nature of shlokas, what is their role in enriching the expressive nuance associated with Hasta usage?
Considering the structured nature of shlokas, what is their role in enriching the expressive nuance associated with Hasta usage?
In light of Bharata Muni’s Natya Shastra, how do palm movements (Hasta Prachara) affect the choreographic space?
In light of Bharata Muni’s Natya Shastra, how do palm movements (Hasta Prachara) affect the choreographic space?
How does the integration and incorporation of music amplify aspects of abhinaya in relation to hasta movements, and rhythmic structures in Bharatanatyam?
How does the integration and incorporation of music amplify aspects of abhinaya in relation to hasta movements, and rhythmic structures in Bharatanatyam?
What impact would a dancer's comprehension and utilization of pada bhedas (foot movements) have on their skill at shaping spatial patterns in Bharatanatyam?
What impact would a dancer's comprehension and utilization of pada bhedas (foot movements) have on their skill at shaping spatial patterns in Bharatanatyam?
In what way does the integration and articulation of various Angikabhinaya elements shape performance narratives?
In what way does the integration and articulation of various Angikabhinaya elements shape performance narratives?
How is the construction and effective employment of Korvai, through precise utilization of adavus, linked to the larger artistic merit of Bharatanatyam dance displays?
How is the construction and effective employment of Korvai, through precise utilization of adavus, linked to the larger artistic merit of Bharatanatyam dance displays?
Analyze the significance of body positioning when learning Bharatanatyam, and how that informs the other aspects of learning the dance.
Analyze the significance of body positioning when learning Bharatanatyam, and how that informs the other aspects of learning the dance.
Does knowledge of the cultural relevance and history associated with a dance's shloka inform a performance, and explain why it does or doesn't.
Does knowledge of the cultural relevance and history associated with a dance's shloka inform a performance, and explain why it does or doesn't.
Evaluate the influence of an artist's comprehensive understanding of a dance's varied elements as a whole during execution, with reference to the influence that may have on technique.
Evaluate the influence of an artist's comprehensive understanding of a dance's varied elements as a whole during execution, with reference to the influence that may have on technique.
In what way does the historical basis for Bharatanatyam footwork inform a dance's future evolution?
In what way does the historical basis for Bharatanatyam footwork inform a dance's future evolution?
How does a sound understanding of space work to make a dance and routine better?
How does a sound understanding of space work to make a dance and routine better?
The structure and performance of the Swarajathi can be described as:
The structure and performance of the Swarajathi can be described as:
How does the inclusion or omission of the element of drama impact Natya?
How does the inclusion or omission of the element of drama impact Natya?
In regards to understanding the relationship between spoken word, movement and expression should a novice study these with respect to Natya?
In regards to understanding the relationship between spoken word, movement and expression should a novice study these with respect to Natya?
Describe how the combination of Alarippu, Jatiswaram, and Nritta passages of Shabdam come together to create the modern dance form.
Describe how the combination of Alarippu, Jatiswaram, and Nritta passages of Shabdam come together to create the modern dance form.
How could the dance term “Korvai” be described in the context of Bharatanatyam?
How could the dance term “Korvai” be described in the context of Bharatanatyam?
Flashcards
Samayukta Hasta
Samayukta Hasta
Double hand gestures in Bharatanatyam, totaling 23 as described in the Abhinaya Darpanam book.
Pataka Viniyog Shlokas
Pataka Viniyog Shlokas
Specific verses (Shlokas) related to hand gestures like Pataka, Tripataka, Anjali and Kapota used in Bharatanatyam.
Drishti Bheda
Drishti Bheda
Classifications of eye movements as per Abhinaya Darpanam.
Griva Bheda
Griva Bheda
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Sthanaka Bheda
Sthanaka Bheda
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Hasta Prachara
Hasta Prachara
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Adavu
Adavu
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Laya (tri kaalam)
Laya (tri kaalam)
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Nritta
Nritta
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Nritya
Nritya
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Natya
Natya
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Shikhara Adavu
Shikhara Adavu
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Sarikal Adavu
Sarikal Adavu
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Tirmanam Adavu
Tirmanam Adavu
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Mandi Adavu
Mandi Adavu
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Peri Adavu
Peri Adavu
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Tatti metta Adavu
Tatti metta Adavu
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Study Notes
- Praveshika Pratham is for the second year.
- Total marks are 75, with a minimum passing mark of 26.
- Oral Theory is 15 marks and Practical is 60 marks.
Oral Theory Questions
- Q.1: Samayukta Hasta, according to Abhinaya Darpanam.
- Q.2: Viniyog Shlokas of Pataka, Tripataka, Anjali, and Kapota.
- Q.3: Drishti Bheda, according to Abhinaya Darpanam.
- Q.4: Griva Bheda, according to Abhinaya Darpanam.
- Q.5: Sthanaka Bheda, according to Abhinaya Darpanam.
- Q.6: Hasta Prachara from Natya Shastra.
- Q.7: Reciting Chaturshra Jaati and Tishra Jaati in 3 speeds.
- Q.8: Explain Adavus, Laya (tri kala), Nritta, Nritya, and Natya.
- Earlier course revision is compulsory and subject to examination.
Practical - Adavu (Advance Level)
- Clear demonstration of a minimum of 3 steps in the mentioned groups in all 3 speeds.
- Shikhara Adavu: Tat tai (tam-) ta haa dhit tai (tam-) taa.
- Sarikal Adavu: Tai hat tai hi.
- Tirmanam Adavu (Big): Tari kita tom.
- Mandi Adavu; Tat tai tam.
- Peri Adavu: Tai hat tai hi.
- Tatti metta Adavu: Ta ka di mi.
Oral Theory Answers
Samayukta Hasta
- According to Abhinaya Darpanam, Samayukta Hasta refers to double hand gestures.
- There are 23 double hand gestures taken from the Abhinaya Darpanam book written by Nandikeshvara.
- The gestures are Anjali, Kapota, Karkata, Swastika, Dola, Pushpaputa, Utsanga, Shivalinga, Katakavardhana, Kartariswastika, Shakata, Shankha, Chakra, Samputa, Pasha, Kilaka, Matsya, Kurma, Varaha, Garuda, Nagabandha, Khatwa, and Bherunda.
Sloka referencing the hand gestures
- Anjalishch Kapotashch Karkata Sawastikastatha
- Dola Hastaha Pushpaputaha Utsanga Shivalingkaha
- Katakavardhanshchaiyava Kartariswastikastatha
- Shakata Shankha Chakrech Samputa Pasha Kilakaha
- Matsya Kurma Varaha Garudo Nagabandhakaha
- Khatwa Bherunda Ityete Sankhayata Sanyukta Karaha
- Trayo Vimshati Ityukta Purvagai Bharatadibhih
Viniyog Shlokas
- Viniyog Shlokas of Pataka, Tripataka, Anjali, and Kapota are detailed
Pataka Hasta Viniyog
- Pataka Hasta Viniyog is used for commencing a play, rainy clouds, a forest, denying a place for things, a chest, night, a river, the heavens, a horse, cutting, wind, sleeping, walking, fame, blessings, moonlight, heat, closing and opening of the doors, seven cases, water ripples, entering the street, equality, applying cosmetics, oneself, an oath, silence, palm leaf, shield of a soldier, touching things, blessings, king’s house and ocean or river.
Meanings of associated words
- Naatyaarambhe means beginning of dance.
- Vaarivahay means rainy clouds.
- Vanay means forest.
- Vasthunishaydhanay means to avoid things.
- Kuchasthala is chest.
- Nisha is dark night.
- Nadyaam is river.
- Amaramandala represents to show the heavens.
- Thuranga means horse.
- Kandhana means to ignore.
- Vaayu means wind.
- Shayana is to sleep.
- Gamanodhyama is to make an effort to walk.
- Prathaapa is to praise.
- Prasaada means to give blessings.
- Chandrika is moonlight.
- Ghanatapa is unbearable.
- Kavaata-paatanam is closing and opening of the doors.
- Saptha - vibakthyartham is mentioning the seven cases.
- Tharang is water ripples.
- Veethipravaysha -Bhava represents the act of entering into the street.
- Samathva means equality.
- Angaraagaka. represents massing the body.
- Aathmaartham indicates to show ones own self.
- Shapatham is to make an oath.
- Thooshrieem-bhaava-nidarshanam is to act silence.
- Thaala pathra is a palm leaf to write a letter.
- Khetecha is the shield of a soldier.
- Dravyaa-dis-sparshanam means touching the things.
- Aashirvaada means to give blessings.
- Kriyaa means to show how to bless.
- Nrupasreshtrasya-bhaavana is to show an emperor.
- Thathra-thath-raychi-vachanam means to say this or that.
- Sindhu represents waves in an ocean.
- Sukrutikrama to be good.
- Sambodhanam represents addressing.
- Purogaypee is to move forward.
- Khadga is sword.
- Roopasya is form.
- Dhaarana represents to wear.
- Maasa is month.
- Samvathsara is years.
- Varshadina represents rainy day.
- Sammarjana is to sweep.
Tripataka Hasta Viniyog
- It is used in crown, denoting a tree, thunderbolt, bearer of that weapon (Indra), screw wine and lamp.
Word meanings
- Mukutay means crown.
- Vruksha means to denote a tree (with the branches).
- Vajra means thunder bolt (weapon).
- Thath-thara-vaasav means bearer of that weapon (Indra).
- Ketakeekusuma is screw wine.
- Deepam is lamp.
- Vanhijwaalaa-vijrumbhana means rising flames.
- Kapotham is pigeon.
- Pathralaykaya is to draw designs on the body.
- Baanaartha is to shoot an arrow.
- Parivarthaka is to do circular movements.
Anjali Hasta Viniyog
- Joining the palms of two Pataka hands creates the Anjali Viniyog.
- It is used in salutations to a deity, a preceptor and Brahmins.
- The associated sloka is Devathaa-guruvipraanaam Namaskaaray-shyanukramaath Kaaryaha Shiromukho-rastho Viniyogay Anjall-Budalhee.
Kapota Hasta Viniyog
- Anjali becomes Kapota, when the two hands meet only at their side and end.
- The usage is for addressing a preceptor respectful acceptance or agreement and can be associated with Praname gurusambhashe vinayangikruteshvayam.
Drishti Bheda, according to Abhinaya Darpanam
- It is eye movements.
- Are 8 in numbers which is taken from Abhinaya Darpanam booky which is written by Nandikeshvara and including Sama, Aalokita, Sachi, Pralokita, Nimilite, Ullokita, Anuvrutte and Avalokita.
- Sama means straight.
- Aalokita means round.
- Sachi means one side.
- Pralokita means both sides.
- Nimilite means down.
- Ullokita means upward.
- Anuvrutte means up & down.
- Avalokita means half closed.
- Samamt Aalokitam Saachi Praalokita Nimeelitay Ullokitam Anuvrutteycha Thatacheivaavalokitham Iti Asthodrishti Bhedasyu Kirtita Purva Suribhihi.
Griva Bheda, according to Abhinaya Darpanam
- It means neck movement and they are 4 in numbers, from Nandikeshvara.
- Sundari: side to side, Tiraschina: 'U' shape, Parivartita: 'V' shape and Prakampita: to & fro.
- Sundarishch Tiraschina Tatheiva Parivartitaha Prakampitamcha Bhavangnai Gneya Griva Chaturvidha
Sthanaka Bheda, according to Abhinaya Darpanam
- It is simple standing position and there are 6 in numbers, from Nandikeshvara.
- Resting posture kinds includes Şamapada, Ekapada, Nagabandha, Aindra, Garuda and Bhramasthana.
- Şamapada: standing straight position.
- Ekapada: standing on one foot with other foot crossed over knee.
- Nagabandha: standing on one foot with other foot twisted behind the leg.
- Aindra: standing on one foot with other foot raised above.
- Garuda: one leg bent forward and second leg stretched behind on toes.
- Bhramasthana: sitting in the padmasan position
Hasta Prachara
- It means palm movement and there are 5 in number.
- Taken from Natya Shastra written by Bharata Muni.
Abhinaya styles
- Uttana is palm facing upwards.
- Varttula means bring both the palm in a round shape.
- Trayashra meaning palm facing sideways.
- Sthita means steadiness.
- Adhomukha meaning finger tips facing downward.
Hasta Prachara as palm movements
- Are 3 in numbers, from Natya Shastra by Bharata Muni meaning predominantly used for Natya.
- They are Uttan, Parshva, Adhomukha with hand facing upwards,palm facing sideways, fingertips facing downwards.
Reciting Chaturshra Jaati
- (Ta Ka Dhi Mi) and Tishra Jaati (Ta Ki Ta) in 3 speeds,explaining the following in short.
- Explain: Adavus, Laya (tri kala), Nritta, Nritya, and Natya.
- Adavu: basic steps or basic unit of rhythmic movement; movements with rhythm are called an Adavu.
- Laya (tri kaalam): scheme of time-beat. The limits follow fixed standards and it means time limit.
- Nritta: means pure dance mood and rasa by Das arupaka.
- Tala and Laya are the basic concepts.
- Divided into three forms such as Vishama, Vikata and Laghu by talalayashrayam.
- Nritta consists of Adavu, Karanas, and Korvai.
Nritya
- Consists of footwork and Abhinaya and relates to rasa and psychological state.
- Angika abhinaya relating to Hastha.
- Eyes, eyebrows, lips, etc. is considered to be the miming aspect of dance.
- Has five forms: Vishima, Vikata, Laghu, Perani and Gundali which suggests both bhava and Rasa.
- Meaning is conveyed through, facial expressions, mime and action.
- The items are Shabdam, Padam, Javali, Varnam, Kirtanam, Shlokam etc.
Natya, by Bharatha
- Natya means abhinaya
- It is pure abhinaya having six angas
- Facial abhinaya is very important It is divided into ten sections and constitutes Dasarupakas.
- Amongst the dance forms figuring in classical dance, are Nritta, Nritya, Natya and the sequence are followed.
- Syarajathi, Sabdam and Varnam come under Nritya and Padas comes under Natya category meaning drama.
Practical (Advance Level)
- Minimum 3 steps are to be demonstrated within the groups.
- Adavu means steps of rhythmic movement consisting of Shikhara Adavu, Sarikal Adavu, Tirmanam Adavu (Big), Mandi Adavu, Peri Adavu and Tatti metta Adavu.
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