Indian dancing

INDIAN DANCING

with fury. Here the player enacting the role of Arjuna assumes the raudra rasa, a look of anger. He knits his brow, the pupils of his eyes dilate, he gnashes his teeth. Holding aloft his bow in his left hand (the sikhara mudra), he aims atrow after atrow with the right hand (kapittha mudra). The action clearly indicates the mood of krodha, ot anget, which is complementary to the randra rasa.

It is interesting to note how each of the rasas is registered on the dancer’s countenance:

The svingara rasa involves side glances and a look of intense affection suggestive of love or carnal passion.

The raudra rasa consists of lifted brow, widened eyes with dilating pupils, and the gnashing of teeth to indicate wrath.

The veera rasa is adopted by widening the eyes and assuming a look of dignity while the head is tossed back in a noble manner.

The /asya rasa is denoted by a supetcilious glance through narrowed slits, the eyebrows being arched and the head slightly tossed in disdain.

The karuna rasa consists of glances out of the corner of the eye and a look of tenderness to suggest compassion.

The vibhatsa rasa makes the player contract his eyes, lower his chin, pout his lips, and curl them in a gesture of contempt.

The adbbuta rasa involves atching of brows and a tremulous smile on the lips, the whole face expressing pleased amazement.

The bhayanaka rasa is assumed by tolling the eyes from side to side, dilating the nosttils, and sharply jerking the head and neck to suggest fear.

The shanta rasa is expressed by a peaceful look, with eyes shut or turned heavenwards. The whole attitude is one of calm.

2. Angik, Abhinaya The angik abbinaya, derived from the Yagur Veda, or Book of Sacrifices, portray actions and reflect emotions through movements of the three different parts of the body: (a) Anga, or major portions, including the hands, flanks, legs, head, hips, and chest.

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