Bharata Muni
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MAY THERE BE GOOD NĀṬYA ŚĀSTRA /THE SCIENCE OF THEATRE/
recorded by the enlightened Bharata.
1/ So, [I will tell] about the formation of Mandalas through the combination of the Cārī system (cārī-vyāyāma). Below I will describe the “gaits” suitable (literally existing) for different characters [in a play].
2-3/ After the Overture (Upavahana) was performed with drums and other musical instruments, in a tempo (Kāla) suitable for Mārgī, and while performing the Dhruvās, [which are to be sung] at the entrance of dramatic characters, the curtain is closed. Then the actors, who are to evoke the Sentiments (Rasas) in various parts [of the play], should come onto the stage.
4-7/ In the case of characters of the higher and middle types, [the actor] should adopt Vaiṣṇava-sthāna with the chest raised, Sama and Caturasra, the shoulders relaxed and not too raised, the neck graceful like a peacock’s, the shoulders at a distance of eight Aṅgulas from the ears, the chin four Aṅgulas from the chest, and the two hands (right and left) respectively at the navel and on the left side of the waist.
8-9/ [In the pose described above,] the distance between the legs [of the actor] should be two and a half Tāla. The raising of the legs [upward] should be performed at four or two Tāla or one Tāla.
9-10/ In the case of [characters such as] gods and kings, the rise should be four Tālas, for middle [types of characters] — two Tālas, and for women, lower people, and disguised ones — only one Tāla in height.
10-11/ [The time required for the steps should be] four or two Kalās or only one Kalā. [The steps] of superior [characters] should take four Kalās, those of the middle type — two Kalās, and those of the inferior type — only one Kalā.
12/ A connoisseur of theatrical art should perform the movements [of various characters] in three kinds of tempo (slow, medium, and fast), in accordance with their nature.
13/ The gait of superior [characters should be] slow, of middle [characters should have] a middle [tempo, and the steps] of inferior [characters should be] quick. [Thus,] three tempos should be applied according to the spirit [of different characters].
14/ Here are the rules regarding timing and tempo [of steps]. O sinless ones, listen now to how to perform steps [, suitable for different temperaments].
15/ In his natural gait, the superior [character] should raise the knee to the height of the waist, and in the case of a Cārī, which will be used in battle, the same should be done, i.e., the knee must be raised to the level of the waist.
16-19/ With graceful steps of Pārśvakrānta-cārī, accompanied by instrumental music, [the actor] should make five even steps toward the corner of the stage, and then move in Sūcī-cārī, extending first the left foot and then the right. Then, turning around, he should traverse [five similar steps] to the second corner [of the stage], and then move in Sūcī-cārī, extending first the left foot and then the right. Next, he should [turn again, and] go toward the musical instruments. Thus, having performed twenty-one steps and a turn back, he should again move in Sūcī-cārī, extending first the left foot and then the right.
20/ On an elongated stage, the actor (bharata) must perform complex foot movements (literally, to walk and turn back), but on square and triangular stages, such movements should be, respectively, of the Caturasra and Triasra types.
21/ When [a character] walks together with equals [of their own rank], the basis of the tempo [of their gait] will be [according to their own rank] four, or two Kālas, or one Kāla.
22/ When someone walks accompanied by people of the middle and lower types, [the basis of the group’s gait tempo] will be four and two Kalās or one Kalā.
23/ Wise actors should make steps four Tālas wide in the case of [depicting] gods, Dānavas, Pannagas (Nāgas), Yakṣas, kings, and Rākṣasas.
24/ All other inhabitants of heaven will have steps of medium [width]. But those among them who are majestic should have a gait similar to that of the gods.
The sages ask themselves:
25-28/ “If kings are men, why should they have a gait like that of the gods?” It is said [in reply]: “Why should kings not have a gait suitable for them (i.e., the gods)? In drama and dance, the characters [are of three kinds, namely:] divine, semi-divine (lit. divine-human), and human. Of these, the nature of the gods is divine, that of kings semi-divine, and the rest are called human. In the Vedas and adhyātma (Upaniṣad), kings are described as consisting (literally born) of parts [of various] gods. Therefore, there can be no fault in kings imitating the gods.”
29/ This rule of gait applies to ordinary walking; but for gait in cases of haste, madness, and anger, this rule regarding its measure does not apply.
30/ In all cases, the directors must apply to all characters — high, middle, and low — such types of gaits (Gati), which vary according to their particular condition.
31/ Their gaits should have a duration of four or two kalās, one kalā or half a kalā; thus should one proceed in states other than the ordinary.
32/ (The relative position of different characters by the duration of their gait is as follows:) A character of the highest type should have a gait of four kālas, of the middle type — of two kālas, and of the lowest type — of one kāla.
33/ When a character of the middle level has a gait of one kāla, a character of the lower level should have a gait of half a kāla. Thus, the duration (kāla) should be reduced by half for various special states.
34/ The gait prescribed for characters of the superior type cannot be applied to characters of the middle type, nor the gait of the middle type to characters of the inferior type.
35–37/ In fever, hunger, exhaustion from asceticism, strong fright, astonishment, pretense, anxiety, love in separation, sorrow, and during calm relaxed walking, the steps should be slow, falling at intervals of more than four kalās. But in agitation, the gait should have a duration of four kalās.
37–40/ In hidden (anxious) love, panic, fear, agitation, joy, hasty actions, receiving bad news, insult, seeing evil omens, urgent work, searching for enemies, pursuing a criminal or a fierce beast, an experienced actor should employ a gait with steps lasting two kalās.
40–44/ The gait during open (manifest) amorous action should be graceful. The hero should enter the stage together with a messenger woman showing him the way. The meaning of the action (lit. “the meaning connected with the play”) he should express by means of Sūcā (note – here it is not entirely clear, most likely, “relying on the plot”). He should use pleasant fragrances, be dressed in fine garments, ornaments, and garlands of fragrant flowers. He should walk gracefully, at a slow pace, in the cārī Atikrāntā (with large steps); all his limbs should have Sausthava (beautiful arrangement), and the movements — proper tempo and tāla. The hands should follow the feet: when the foot is lowered, the hand rises, and vice versa.
45–48/ (Secret love) Now hear about the gait in secret love. Having sent away his servants, the lover goes at night with a messenger leading him. He extinguishes the lamp. He should be dressed simply, without an abundance of ornaments. In secret love he walks together with the messenger in slow and noiseless steps; troubled by any sounds, he should be restless, look around, tremble in body, and walk with an unsteady gait.
48–54/ In describing the gait in the Terrible mood, I will speak chiefly of the daityas (note: asuras, descendants of Kaśyapa), rākṣasas, and nāgas. The Terrible mood predominates in them. It is of three kinds: terrible in appearance, terrible in physique, and terrible by nature.
— An example of the terrible in appearance: a rākṣasa whose body is splattered with blood, whose mouth is stained with it, and in whose hands are pieces of flesh. — An example of the terrible in body: a huge rākṣasa of extraordinary build, with many heads and hands holding various weapons. — An example of the terrible by nature: a man with red eyes, red hair, dark skin, a harsh voice, constantly cursing, and walking with his feet raised four tāla high and taking steps three tāla wide.
Such a gait should be possessed by characters similar to them.
54–56/ The gait on ground that is either a cremation ground or a place that has become terrible after battle should be applied in the Bībhatsa-rasa. The execution of the cārī Eḍakākrīḍitā, in which the feet are quickly lowered now close together, now far apart, with the hands following the feet, constitutes the gait in the Odious.
57/ In the Heroic mood, the gait should include quick swings of the arms and the use of various cārī.
58/ In a state of emotional excitement, the gait should consist of steps of proper size (kalā) and tāla in the cārīs Pārśvakrāntā (a “sideways” movement), Āviddhā (a movement with a diagonal transfer of weight), and Sūcī (a pointed stepping movement).
59–60/ These gaits are prescribed for generally higher characters. Now I will describe the gait of middle and lower ones. In their astonishment and joy, they should make excited steps, and in their laughter also apply similar movements of the feet.
61–63/ The gait in the sorrowful mood should be slow, with eyes filled with tears, drooping limbs, hands raised and lowered, and loud lamentation. In the case of a recent misfortune, one should also walk in the cārī Adhyardhikā (steps measuring one and a half units). This gait applies to women and characters of the inferior type as well.
63–66/ Higher characters in the Karuṇa-rasa should be patient, tearful, sigh heavily, look upward; their gait should be without a definite measure, without sausthava (statuary poise). Middle characters also receive their gait according to the rule: at the death of loved ones they bend in dejection, lose consciousness from grief, walk without lifting their feet high. Upon a blow, the shoulder is drawn back, they defend with their hands, the body should be unsteady, and the steps — short.
67–69/ A special gait should be given to women and people of the lower type when they are overtaken by cold or rain. They should press all limbs to the body, tremble violently, place their hands on the chest, bend down, their teeth should chatter, lips tremble, chin quiver. The gait in cold should be slow.
70–75/ In the Terrible mood (for women and men of the lower type, weak in spirit) the gait should correspond to their nature. The eyes are wide open and moving, the head is Vidhuta, the gaze is frightened, shifting from side to side; the gesture is Kapota; the steps are quick and small; the body trembles, the lips are dry, the gait is unsteady. This is used to depict a frightened person, for intimidation or threat. Cārī Ākṣiptā is prescribed for both men and women when they see a strange animal or hear an unusual sound. The gait of a frightened person includes cārī Eḍakākrīḍitā — the feet fall quickly now close, now far apart, the hands follow them.
76–78/ Their gait should be natural. They walk in Atikrāntā-cārī, with steps two tāla wide. The left hand in the Kaṭakāmukha gesture upward—at the navel, the right hand in the Arāla gesture upward—to the side. They move without sluggishness, without stiffness, and without excessive restlessness.
79–86/ The gait of yatis, śramaṇas and ascetics should be like that of one observing brahmacarya. The actor should have motionless eyes, looking four cubits ahead, a good memory, a calm body, a mind at peace; he should wear the marks of his sect, clothing of a dark-red colour, and stand in Samapāda-sthāna (feet together). The hands — in the Catura gesture, one of them extended. He moves in Atikrāntā-cārī naturally, without sluggishness of the limbs. Strict ascetics have such a gait; the others receive its reverse variant. Ascetics of different vows receive a gait that is changeable, majestic, modest or gentle. Members of the Pāśupata sect walk in Śakaṭāsya and Atikrāntā-cārī with proud steps.
87/ The gait of a person in darkness or of a blind person consists of feet sliding along the ground and hands feeling the way.
88–92/ The gait of a person riding in a chariot consists of short steps. From Samapāda-sthāna he should depict the movement of the chariot, taking a bow in one hand and the shaft in the other. The charioteer acts with the whip and reins; different animals should be shown according to their nature. He enters with quick, simple steps. The gait in a celestial chariot is similar to this. One who is about to climb up raises the body upward, the face upward; when descending, the movement is the reverse.
92–95/ The gait of a character moving through the air should include aerial cārī and a downward gaze. He begins from Samapāda, with short steps. The gait during descent is the same. The gait consists of steps that are straight and wide, or high and low, or uneven and circular. The gait during a fall includes Apaviddha arms, flowing garments, and a gaze directed toward the ground.
96–100/ When ascending to a palace, a tree, a hill, or another elevation, as well as when descending or entering a river, the movements should be corresponding.
When ascending the steps of a palace, Atikrāntā-cārī is applied, with the body held raised.
When descending, the body is slightly bent, one leg in Atikrāntā, the other in Añcita.
When ascending a hill — the same, but the limbs are thrown higher.
Ascending a tree is depicted with the cārīs Atikrāntā, Sūcī, Apakrāntā, Pārśvakrāntā.
101–104/ The same gait is used when descending from a tree and when entering a river. The gait for descending from a palace is applied when crossing a river. The gait in water depends on the depth: — in shallow water — with tucked-up clothing; — in deep water — throwing out the arms, the body slightly inclined forward. When carried away by the current, a person alternately extends the arms, pushing the water away, all limbs work, the mouth is filled with water.
105/ The gait of a person floating in a boat consists of quick steps. All these movements are depicted only by a sign (saṃjñā). Indeed, actors need not actually die if the character dies. An elephant is depicted by taking a hook, a horse by the bridle, and others by a whip.
108/ The gait of a person on a horse consists of Vaiśākha-sthāna and various short steps.
109/ The gait of snakes — with the feet in Svastika; the actor moves in Pārśvakrāntā-cārī, then performs Recaka with the same posture.
110/ The gait of the Parasite should be graceful: he places his feet forward in Ākuñcita within one tāla, his arms in the Kaṭakā-vardhamāna gesture, with proper sausthava.
112–114/ If he is young, he walks lifting his feet to half-tāla, with simple steps, holding his limbs as if touching mud. If old — the body trembles, the feet rise slowly, and with each step he takes a breath.
115–117/ The gait of the exhausted — slow steps. In severe illness or fatigue from asceticism: a drawn-in belly, a weak voice, dull eyes, slow movements of the arms and legs, trembling, weakness; with each step — an exhalation.
118/ Gait — slow steps, narrowed limbs, rubbing of knees.
119–120/ A corpulent person raises his legs slowly, drags his body with great effort, breathes heavily, breaks into sweat, and takes short steps.
121–122/ Light and medium intoxication — swaying steps, the legs sometimes move backward. Strong intoxication — unsteady legs, a tilted body, a wavering gait.
123–130/ The gait of a madman — irregular steps, many cārī, imitating different people. Hair dishevelled, body covered in dust; speaks meaninglessly, too much, in an abnormal way; sometimes sings, sometimes laughs, follows no one; dances, beats an improvised “drum,” now runs, now stands, now sits, now lies down; wears rags; lives on the road. His gait: After Baddhā-cārī he crosses his legs, then, turning in all directions, makes Bhramara-maṇḍala outward, goes to the corner of the stage; having turned Trika, holding Latā-hasta, moves unevenly.
131–136/ The lame:
— the legs are motionless; — or the legs are in Agratalasañcara, the body rises on a rigid leg; — or the body leans now on one leg, now on the other.
(Thus one depicts a thorn in the foot.) The crippled: Agratalasañcara + Añcita, a steady body, bent shins. Dwarfs: limbs are narrowed, steps are narrow, there are no quick movements.
137–142/ The jester walks with simple comical steps, lifting his legs high. Three kinds of laughter: from the limbs, from words, from clothing.
— ugly teeth, baldness, a hump, lameness, a distorted face — laughter from the body; — walking like a crane, wide strides — the same; — incoherent, empty, obscene speech — laughter from words; — torn clothing, skin, soot, ochre — laughter from clothing.
The jester must carefully adopt these states. His usual gait: Kuṭilaka in the left hand, the right in Catura; alternately lowering the side, head, arms, legs, observing tāla. After eating, the gait is interrupted.
146–148/ In servants: one side, head, arm, or leg droops, and the eyes wander.
148–149/ A proud but ordinary gait; he touches his clothing and ornaments, often looking at them; the body moves unnaturally, garlands and clothing sway.
150/ They walk, looking around, protecting their bodies from the touch of others.
151/ The gait of the tribes — Pulinda, Śabara, and others — is depicted according to their region.
152/ The gait of birds, predators, and beasts is shown according to their nature.
153–158/ They are shown as Viṣṇu depicted them: From Ālīḍha-sthāna, one hand on the knee, the other on the chest, gaze around, chin on the shoulder, steps — the legs rise five tāla. Thus are depicted lions and other beasts in battle and at their entrance onto the stage. The remaining animals receive a gait according to the occasion.
159–176/ Female Sthāna: Āyata, Avahittha, Aśvakrānta — are described in detail (entrances, gestures, emotions). Female steps should not be of six or eight kāla — this is heavy for them. The gaits of young women, elderly women, maidservants, “half-women,” children, and others are described with specific hand and foot postures.
188–192/ When changing roles, a man, woman, or hermaphrodite adopts the gait of the new character. A woman pretending to be a man must have a manly spirit, clothing, speech, and gait. A man playing a woman must wear her clothing, speak and look like her, and have a soft and slow gait.
192–195/ Women of low origin, of the Pulinda and Śabara tribes, have the gaits of their own community. Female ascetics use Samapāda-cārī. Women should not be given energetic Aṅgahāra, cārī, and maṇḍala.
195–203/ Various ways of sitting — in calm, in reflection, in grief, in a faint, in shame, during rituals, in appeasing a beloved — are described in detail according to the position of the legs, hands, and torso.
206–220/ Kings — a lion throne; priests and ministers — a chair of reeds; the heir and the commander-in-chief — a Muṇḍā seat; brahmins — a wooden one; wives — according to their rank; the lower ones — sit on the ground. Ascetics — a seat according to their vow. Equals — sit at the same height; elders — higher; the lower — lower.
221–228/ Six lying postures: Ākuñcita, Sama, Prasārita, Vivartita, Udvāhita, Nata — each for different states: cold, deep sleep, happy sleep, wound, death, intoxication, play, fatigue, suffering.
These are the rules of gaits and movements. What is not stated should be determined by circumstances. Next follows a description of the division of the stage into zones in connection with movement across it.
Continuation – in the following publications https://t.me/natyashastra 🙏