Bharata Muni
| ← Chapter 9 | Chapter 11 → |
MAY THERE BE GOOD NĀṬYA ŚĀSTRA /THE SCIENCE OF THEATRE/
recorded by the enlightened Bharata.
So, chapter ten in the Nāṭyaśāstra of Bharata.
1/ It is known that the breast is of five kinds: Abhugna (slightly bent), Nirbhugna (straightened), Prakampita (trembling), Udvahita (raised), and Sama (natural).
2/ Abhugna (slightly bent) — (chest) lowered, back high, shoulders slightly bent and at times relaxed (not tense).
3/ (Use): in haste, despair, fainting, sorrow, fear, illness, a broken heart, upon touching cold objects, in rain, and in shame for some deed.
4/ Nirbhugna (unbent) — (chest) is tense, the back is lowered, the shoulders are not bent and not raised.
5/ (Application): in paralysis, indignation, a surprised look, assertion of truth, arrogant mention of oneself, and excessive pride.
6/ Prakampita (shaken) — the chest continuously rises upward [and downward].
7/ (Application): in laughter, crying, fatigue, panic, asthma, hiccups, and suffering.
8/ Udvāhita (raised) — the chest is raised upward.
(Use): for (depicting) deep breathing, gazing at some tall [object], and yawning.
9/ Sama (natural). All limbs are in Caturasra, and with Sausṭhava [translator’s note: sauṣṭhava, “a certain position of the body,” see ch. 11, śl. 88] the chest will be called Sama (natural).
10/ I have correctly described the variety of chest movements. And now I will define here the movement of the sides.
11/ The positions of the side are of five kinds, namely: Nata (bent), Samunnata (raised), Prasārita (extended), Vivartita (turned), and Apasṛta (drawn away).
12-15/ Nata (bent) — the waist is slightly bent, one side is slightly bent, one shoulder is slightly drawn back.
Unnata (raised) — the other side [when assuming the Nata position] will be Unnata (raised), [because in relation to it] the waist, side, arm, and shoulder will be raised.
Prasārita (extended) — stretching the sides in the (corresponding) directions.
Vivartita (turned) – Trika (sacrum) should be turned.
Apasṛta (averted) — a side, restored to its original position after the movement Vivartita [described above].
This is a definition of various types of side positions.
16-17/ Nata (bent) — when approaching any body.
Unnata (raised) – when moving backward.
Prasārita (extended) – in joy.
Vivartita (turned) – having turned.
Apasṛta (carried away) – returning.
This is the use of the sides. Now hear about the movements of the abdomen.
18/ The belly is of three kinds: Kṣāma (thin), Halva (sunken), and Pūrṇa (full). Of these, the thin (belly) is Kṣāma, the sunken one is Halva, and the full belly is Pūrṇa.
19-20/ Kṣamā (thin): in laughter, crying, inhalation, and yawning.
Halva (depression): in illness, repentance (tapas), fatigue, and hunger.
Pūrṇa (full): exhalation of breath, fullness, illnesses, overeating, and the like.
Such is the benefit of the belly. Now hear about the waist.
21-24/ The waist in dance and drama is of five kinds, namely: Chinna (turned to the side), Nivṛtta (turned), Recita (moving), Prakampita = Kampita (shaken), and Udvāhita (raised).
Chinna (turned to the side) — in a turn of the middle of the waist. Nivṛtta (turned) — when turning forward from a reverse position. Recita (moving) — moving in all directions. Prakampita (shaking) — in inclined movements up and down. Udvāhita (raised) — slowly raising both sides of the waist.
This is the movement of the waist. Now listen about their usage.
25-26/ Chinna (turned to the side): when training [the limbs], haste and looking back.
Nivṛtta (turned away): in the turn.
Recitative (moving): in movements [of the general type]
Prakampita (shaken): used for the gait of hunchbacks, dwarfs, and characters of the lower type.
Udvāhita (raised): in [the movement] of full [people] and in amorous movements of women.
27-30/ The thighs have five states, namely: Kampana (shaking), Valana (turning), Stambhana (immobility), Udvartana (jumping) and Vivartana (turning).
30-32/ Kampana (shaking) — repeated raising and lowering of the heels.
Valana (turn) — turning the knees inward [during movement].
Stambhana (immobility) — cessation of movement.
Udvartana (very fast turn) — is performed forcefully with Valita (Valana).
Vivartana (turn) — the turning of the knee inward and its movement.
32/ Kampana (trembling): in the frightened movement of characters of the lower type.
Valana: in the relaxed movement of a woman.
Stambhana: in confusion and despair.
Udvartana: in exercises [of the limbs] and in Class dance.
Vivartana: movement due to haste.
33/ It can be assumed that the other [positions of the hip] are analogous to those found in popular practice. That is all about the movement of the hips. Now hear about the movements of the shin.
34-37/ The position of the shin is of five kinds, namely: Āvartita (turned), Naṭa (bent), Kṣipta (thrown out), Udvāhita (raised), and Parivṛtta (turned back).
Āvartita (turned) — the left leg turns to the right, and the right [one] to the left.
Nata (bent) — the knee is bent.
Kṣipta (thrown out) – thrown out shin.
Udvāhita (raised) – lifting (the sheath) upward.
Parivṛtta (turned back) — a turn backward [of the leg].
38-40/ Āvartita (turned): during the walk of the Vidūṣaka.
Nata (bent): in assuming the poses of Sthāna (standing) and Āsana (sitting).
Kṣipta (thrown away): in the exercise [of limbs] and Class dance.
Udvahita (raised): in movements similar to quick (aviddha) walking.
Parivṛtta (turned around): in Classical dances and the like.
This is the movement of the shins. Now hear about the movement of the feet.
41-50/ The positions of the feet are of five kinds: Udghaṭṭita, Sama, Agratālasañcara, Añcita, and Kuñcita.
Udghaṭṭita — standing on the front parts of the feet and then touching the ground with the heels.
(Application): In practice, this corresponds to the Udghaṭṭita Karaṇa, and this position should be applied one or more times at a high or medium speed.
Sama (natural) — [feet] naturally stand on a flat surface. This refers to the depiction of a natural posture.
(Application): Here [the feet] should be kept motionless, depicting the natural posture of the body in connection with various Karaṇas, but when moving the feet in Recaka, they should be shifted.
Agratālasañcāra — heels raised upward, the big toe extended forward, the remaining fingers bent.
(Usage): This [should be used] for urging, destruction, standing (sthānaka), kicks, strikes on the ground, walking, throwing [something], various movements of Recaka and walking forward, as well as movement when there is a wound on the heel.
Añcita — heels on the ground, the front part of the feet raised, all toes spread apart.
(Usage): It should be used for depicting movement with a wound on the front part of the foot, turns in all directions, strikes on the sole [with something], and in various movements of Bhramarī.
Kuñcita — the heels are raised upward, all toes are bent downward, and the middle of the feet is strongly arched.
51/ (Usage): It should be used in the aristocratic (udātta) gait, in turning to the right and vice versa, as well as in Atikrānta Cārī.
52/ People practicing [carī] must simultaneously perform movements of the feet, shins, and thighs. [For] in the movement of the feet are included all movements of the shins and thighs.
53/ The hips repeat the path of the feet’s movement, and these two [limbs] together perform the Cārī.
54/ Such are the descriptions and uses of the [various] limbs. Now I shall describe the system of the [various] Cārīs.
Here ends chapter X of the Nāṭyaśāstra of Bharata, which treats of the movements of the various limbs.
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