The Natyashastra of Bharata is regarded as the seminal and the earliest text extant text, represents the first stage of Indian arts where the diverse elements of arts, literature, music, dance, stage management and cosmetics etc., combined harmoniously in order to produce an enjoyable play. It is the source book for all art forms of India. The Nāṭyaśāstra, surely, is a work of great antiquity. Yet; the scholars opine that looking at the way the text has been compiled and structured; it appears to be based on earlier works.
The Natyasastra, as we know, which has about 6,000 karikas (verses), is also known as Sat-sahasri. The later authors and commentators (Dhanika, Abhinavagupta and Sarada-tanaya) refer to the text as Sat-sahari; and, its author as Sat-sahasri-kara. But, the text having 6,000 verses is said to be a condensed version of an earlier and larger text having about 12,000 verses (dwadasha-sahasri). It is said; the larger version was known as Natya- agama and the shorter as Natya-shastra.
In regard to Dance, in particular, the Chapter Four (Tandava-lakshanam) is the most important portion, as it details the dance-techniques.
Abhinavagupta (11th century) was a visionary endowed with incisive intellectual powers of a philosopher who combined in himself the experiences of a mystic and a tantric. He was equipped with extraordinary skills of a commentator and an art critic. His work Abhinavabharati though famed as a commentary on Bharata’s Natyasastra is, for all purposes, an independent treatise on aesthetics in Indian dance, poetry, music and art. Abhinavabharati along with his other two works Isvara pratyabhijna Vimarshini and Dhvanyaloka Lochana are important works in the field of Indian aesthetics. They help in understanding Bharata and also a number of other scholars and the concepts they put forth.
When we come to Dance and its forms, the medium of expression is the dancer’s body. The precise movements of hands, face, eyes, feet and body positions; the gestures; and, aesthetic expressions that are put forth, are indeed, the modes its art-expression. There is a complete physical, mental harmony and emotional involvement with the dancer’s performance.
Thus, for a dancer, her/his body is the instrument. The knowledge and skill that the dancer gained through the long years of hard work, pursued with discipline and devotion, are manifested through the rhythmic body-movements, meaningful and expressive gestures. Art (Kala) stands not only for what is ultimately expressed; but also for the way it is expressed. The same is the case with dance also. What is presented through body-movements, gestures and expressions is called Dance.
Lalita Kala and Upayogi kala -Crafts and skills are regarded as art expressions which are classified under two broad heads: Lalita-kala or Charu-kala (fine arts); and, Upayogi kala (crafts and skills of utility).
The Natyashastra, an authoritative text to which the Masters and learners alike turn to , seeking instructions, guidance, and inspiration , is central to any discussion on classical Dance.
As Nandikesvara said, the Dance should have songs (gitam). And, the song must be sung, displaying (pradarshayet) the meaning (Artha) and emotions (Bhavam) of the lyrics through the gestures of the hands (hastenatha); shown through the eyes (chakshuryo darshaved); and, in tune with rhythm and corresponding foot-work (padabhyam talam-achareth).
Asyena alambaved gitam, hastena artha pradarshayet/chakshuryo darshaved bhavam, padabhyam talam-achareth (Ab.Da.36).
Nrtta could be understood as a metaphor of Dance made of coordinated movement of hands and feet (Cari and Karana or dance units or postures), in a single graceful flow. Tandava is said to be the Nrtta that Shiva taught to his disciple Tandu (Tando rayam Tandavah). It was composed by combining the circular movement of a limb (Recaka) and the sequence of dance movements (Karanas, Angaharas). Sukumara Prayoga is the tender and graceful type of dance performed by the Devi Parvathi. It is said; Shiva’s Tandava dance comprising Angaharas and Recakas inspired Devi Parvathi to perform her own type of dance, adorned with graceful and delicate movements (sukumara-prayoga) – (Sukumāra-prayogeṇa Nṛttam caiva Pārvatīm –NS.4.250).
Bharatanatyam is a composite Dance form, which brings together Nrtta, Nrtya and Natya formats. It draws its references (apart from Natyashastra) from various other texts of regional nature. Besides, it has developed its own specialized forms.
The basic Nrtta items in the Bharatanatya repertoire are the Alarippu (invocation); Jatiswaram (perhaps a successor of Yati Nrtta, where the Jati patterns are interspersed with appropriate Svara); and , Tillana (brisk, short rhythmic passages presented towards the close of the performance
Such Nrtta items in a Bharatanatya performance are dominated by the technique of the Angikabhinaya, which is defined as acting by means of body movements.
