The Natya Shastra

The book I chose for my project is the Natya Shastra. It is essentially the treatise of Indian Classical Dance, and holds all the rules for the dance form. Originally written between the 1^st century BC and 3^rd Century CE by Bharata Muni, it has codified not only Bharatanatyam, but also all other classical forms of dance in India. The version I am reading is translated by the Royal Asiatic Society in 1944. Although many mistakes have crept into the translation, for a txt that was originally written such a long time ago, it will be able to provide ample information for the ISP.  The text not only covers the core aspects of dance, but also organizes all aspects of staging, including stage-design, makeup, and music (goes into great detail about the instruments and music of the period). Originally written in Sanskrit, it is obvious that it was made solely for an elite, educated audience of Brahmins who also played a large role in religion in Ancient Indian Society. The text has 6000 different slokas (chants) which specify on everything from eye movements to neck movements, and even audience appreciation. These include:

1.     The Mythic Creation of Theatre

2.     Theatre Buildings

3.     Religious Rituals

4.     Dance

5.     Pre-Show Activity

6.     Rasa

7.     Bhavas

8.     Acting: Head and Face

9.     Acting: Hands and Limbs, pt. 1

10.   Acting: Hands and Limbs, pt. 2

11.   Stage Movement: Steps

12.   Stage Movement: Combinations of Steps

13.   Stage Movement: Gaits

14.   Areas of the Stage and Styles of Plays

15.   Voice

16.   Meter

17.   Poetic Figures

18.   Languages, pt. 1

19.   Languages, pt. 2

20.   Types of Plays

21.   Plot

22.   Mood

23.   Costume

24.   Acting: Imitation and Representation

25.   Acting: Characterization

26.   Gesture

27.   Success of a Production

28.   Music

29.   Stringed Instruments

30.   Hollow Instruments

31.   Tala (Drumming Rhythms)

32.   Songs

33.   Drums

34.   Character Categories

35.   Roles

36.   The Theatre Myth

As my presentation is on Classical Dance and not Ancient Indina Theater as a whole, I will be focusing mostly on chapters 4 – 13.  

Adavus, The Building Blocks

Adavus are he baby steps of Bharatanatyam. Any bharatanatyam dancer, at any level, is still connected by these basic steps that are drilled into muscles, from day one up until the professional level. While Adavus may just seem like the building blocks, the single steps that go into the graceful dances which make up Bharatanatyam, there is a specific, scientific reason behind these movements. Adavus are a combination of four formulaic positions. The sthanakam, or the position of the legs, the mandalam, or the body posture, chari, or the walking manner, and nritta hasta, or hand gestures. When all four are completed in complete unity, the perfect adavu is formed. This being said, there is still more codification that goes into the formation of adavus. There are ten types of adavus, each with a certain movement that they are based off of. These types are:

1.       Tatta Adavu (Tapping Step)

2.      Natta Adavu (Stretching Step)

3.      Visharu Adavu  (Intense Hand Movements)

4.      Mett Adavu (Heel Steps)

5.       Tirumanam Adavu (Concluding Steps)

6.      Murka Adavu (Turning Steps)

7.       Jati Adavu (Steps that bring of out Thaalam, or beat)

8.      Kuditamitta Adavu (Jumping on the toes, Striking the heels)

9.      Mandi Adavu (Fully Bent Knee Steps)

10.   Sarikal Adavu (Sliding Steps)

All students are expected to learn adavus before learning any dance, or any combination. This is to develop flexibility in initial stages, rather than struggling with steps later, to form the correct posture, to build up stamina, build up musicality, and be aware of the body.