Bharata Muni
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MAY THERE BE GOOD NĀṬYA ŚĀSTRA /THE SCIENCE OF THEATRE/
recorded by the enlightened Bharata.
So, chapter eight of the Nāṭyaśāstra of Bharata.
The ṛṣis said:
1/ “Everything that we have perceived, thanks to the grace shown by you, we now wish to understand. By what path do rasa and bhāva arise?
2/ How do initiates apply abhinaya, and what varieties of it are known?
3/ Also, O great enlightened one, you should truthfully tell how abhinaya should be performed to achieve the greatest impact?”
4/ Having heard the speech of those sages, the holy Bharata spoke about the four types of abhinaya:
5/ “Following your request, O rich in deeds, I shall tell you in full whence the name ‘abhinaya’ arose. Here shall be set forth by us that which pertains to the fourth abhinaya. And so it is asked — why is this called ‘abhinaya’? Further it is said — ‘abhi’ is a prefix (expressing the direction of the action), and ‘ni’ is a root meaning to lead, to reveal, i.e. ‘abhini’ — that which strives to lead (to the spectator), to reveal (the meaning), and the addition of the vowel suffix yields the word ‘abhinaya’, precisely expressing the nature of this process. Here are two ślokas:
6/ First comes the prefix “abhi”, and then the root “ni”, which establishes the fundamental meaning. Since the actor leads and directs the drama, this is traditionally called abhinaya,
7/ since the actor shows, reveals the meanings of the drama, making the spectator take him for someone else, using different parts of his body, this is traditionally called abhinaya.
8/ O twice-born ones, there exist four kinds of abhinaya in Nāṭya, each of which abounds in diverse subtypes.
9/ The initiated distinguish four known types of abhinaya – Āṅgika /body/, Vācika /voice/, Āhārya /costume and makeup/, and Sāttvika /consciousness/.
10/ Earlier I already spoke about Sāttvika in connection with bhāva, so now my account will be devoted to Āṅgika abhinaya.
11/ Three kinds of Āṅgika abhinaya are evident—these are the expressiveness of the body, the face, and behavior, the first two of which consist of smaller and additional parts.
12/ Nāṭya saṅgraha states: the body consists of six aṅga (main parts) — head, arm, leg, chest, side, and foot, connected to each other by upāṅga (additional parts).
13/ Head, hand, thigh, chest, side, and foot are the six aṅga. Eyes, eyebrows, nose, lips, cheeks, and chin are upāṅga.
14/ Areas of body application - dance and dramatic action. The body is the material for abhinaya, therefore it must be studied by performers.
15/ That is, aṅgika in drama is a gesture; in dance, it is the basis of karaṇa and the aṅgahāra arising from them.
16/ The expressiveness of the face underlies the various bhāva and rasa, O twice-born ones. But first I shall reveal to you that which pertains to the movements of the head.
17/ Ākampita, kampita, dhūta, vidhūta, parivāhita, ādhūta, avadhūta, and añcita,
18/ nihanchita, parāvṛtta, utkṣipta and also adhogata and lolita — these are the well-known 13 positions of the head.
19/ The head slowly rises and also slowly lowers from top to bottom — this is ākampita. The same movement, but quick and repeated many times, is called kampita.
20/ that is, the movement of an upright head from top to bottom is ākampita, and the same repeated movement is kampita.
21/ The head in the ākampita position is used in the case of an address, instruction, request, during conversation, when giving directions or expressing agreement,
22/ and in the case of anger, conjecture, the process of cognition, a promise, a threat, or in a situation of dispute where too many questions are asked — let the head be in the position of kampita.
23/ If the head gradually turns from side to side, it is called dhūta, and if the same movement is performed quickly, it is called vidhūta.
24/ The head in the dhuta position is used in the following situations: in case of refusal, disappointment, astonishment, distrust, the need to look around, in search of something lost, or for the purpose of exercising control,
25/ and vidhuta occurs when speech becomes slurred from cold, in a state of agonizing fear, or after drinking a strong beverage.
26/ A head inclined to one side and then to the other, without turning the face, is parivāhita, while in the adhuta position the head moves diagonally /to the side and upward/ once.
27/ At the moment of the end of something, from astonishment, from joy, from laughter or irritation, in thoughtfulness, in tears, or for the sake of a joke, parivāhita is performed.
28/ If a proud and demanding appearance is needed, a haughty look at those standing nearby, and an inherently high self-opinion, then the position for the head is chosen as adhuta.
29/ If the head bends forward only once, it is avadhūta. It is demonstrated in a situation of command, when it is necessary to summon someone, and in conversation at a moment of agreement.
30/ A head with the neck slightly inclined to the side is known as añcita. This position is used in cases of illness, fainting, intoxication, as well as in a state of pensiveness, while supporting the chin with the hand.
31/ The shoulder is slightly raised and the brow is arched — this position of the head is called nihanchita. It is known that it is used by women.
32/ To demonstrate pride and caprice, in playful jest, showing feigned indifference, to arouse love, pretending to be cold and reserved — these are the occasions when nihanchita is needed.
33/ Further, it is said that parāvṛtta is the imitation of refusal, i.e., turning away the face, looking back, and the like.
34/ Utkṣipta involves a head with the face raised upward. This is done when shooting a bow, when addressing a deity, or when looking at something high.
35/ The sages say that adhogata is a head with the face constantly turned downward. This is possible from modesty, when bowing, or in misfortune.
36/ A full rotation of the head is lolita. With such a movement of the head, one should faint, show strong intoxication, drowsiness, or look around upon entering somewhere. Such is the tradition.
37/ The natural position of the head is that which is proper to a direct and calm character, that which is customary and corresponds to nature, arising in situations conditioned by fortunate circumstances, as well as in the study of sacred texts, at the moment of religious contemplation, and in one who has conquered his own nature.
38/ However, the head consists of a large number of different parts, which are themselves means of expression, and performers must be able to use them as well.
39/ Therefore, having spoken of the 13 ways of head movements, I shall now speak of the existing views.
40/ Here are the views known as expressing various rasa – loving, frightened, laughing, suffering, astonished, as well as angry, courageous, and full of disgust.
41/ Here are the views corresponding to sthāyibhāva – tender, joyful, sad, furious, proud, fearful, disgusted, and astonished,
42/ as well as still absent, dark, tired and confused, emptied, suspicious, disappointed and closed,
43/ squinted, despairing, oblique, content, contemplative, half-closed, darting, restless,
44/ squinting, open, frightened, and intoxicated. These are the 36 established glances in Nāṭya.
45/ Now I will tell how exactly and by what rules these glances should be performed in connection with the various bhāva and rasa.
46/ If the rasa Love is shown, her glance is loving. It should be coquettish, with a raised eyebrow, expressing rapturous joy and the purity of marriage or a state of extreme infatuation.
47/ In rasa Fear, as is known, the gaze is very terrifying. Wide-open motionless eyelids and sparkling eyes that seem to bulge out of their sockets.
48/ Slightly narrowed eyelids and anxiously darting eyes — such is the gaze representing the rogue in the rasa of Laughter.
49/ The upper eyelid lowers, the eyes move slowly, full of tears and sorrow, the gaze rests on the tip of the nose. The look in the rasa of Sorrow will be sorrowful.
50/ If the tips of the eyelashes are curled to the limit, and the pupils move excitedly; if the eyelids are opened so that the eyes become moon-like, then this is a gaze full of astonishment in the rasa Wonder.
51/ By tradition, the gaze of the Rasa of Wrath is fierce. Fierce, flashing, with red eyes, widened lids, protruding pupils, and knitted brows.
52/ The gaze associated with the rasa Heroism is courageous. It is ardent, open, unwavering, and deep. Its pupils look straight ahead, its eyelids are calm.
53/ The narrowed outer corners of the eyelids, now concealing, now slightly revealing the pupils, so that the eyelashes remain joined—this is how the gaze in the rasa of Disgust is shown.
54/ The gaze is fixed on the tip of the nose, the eyelids close, the pupil moves downward. In the rasa of Peace, the gaze is calm, as if unseeing.
55/ These are the views known as generating rasa. Now I will tell about the views connected with sthāyibhāva.
56/ The gaze that creates the sthāyibhāva of pleasure, tender, slightly misted with tears of joy. The eyes are not too widely opened, expressing sweetness. The pupil is motionless and full of desire.
57/ The joyful glance is known in sthāyibhāva as humor. It is mobile, containing a hint of mockery. The eyelids are slightly narrowed, and the pupil appears and disappears.
58/ The upper eyelid is lowered, the expression of the eyes is thoughtful, the pupil moves slowly — this is what a dejected look looks like in sthaibhāva mukha.
59/ The radiant gaze of sthāyibhāva fury is performed with knitted brows, the pupil rotates, the eyelids are open and motionless. This is the angry gaze.
60/ A glance expressing the power of sthāyibhāva is proud. It is based on a philosophical worldview, calm, open, conscious, and worthy of praise.
61/ The gaze connected with the sthāyibhāva of fear is frightened. Both eyelids are wide open, and the pupil trembling with fear is positioned in the center of the eye.
62/ The eyelids wrinkle, almost covering the pupils, the eyelashes touch and tremble. Such is the gaze of disgust in the sthāyibhāva of disgust.
63/ Eyes extremely bulged, so that both eyelids are not visible. This gaze is like one innocently open. Such, according to tradition, is the gaze of astonishment in the sthāyibhāva of astonishment.
64/ These are the views known to the sages, connected with sthāyibhāva. Now I will give a description of the views connected with sañcāribhāva.
65/ The eyelids are relaxed, do not flutter, the calm pupils gaze into emptiness, not perceiving external objects — such is the absent gaze, occupied with inner contemplation.
66/ The eyelashes begin to tremble, the eyelids almost cover the eyes, the pupils disappear, roll upward—such is the dark gaze.
67/ It is known that a tired gaze is one where the eyelids weaken from fatigue and are slightly narrowed, it is dull, and its pupils roll upward.
68/ A look expressing embarrassment is a glance from under the tips of the eyelashes, with the upper eyelid lowered and the face shyly bent downward. Such is the embarrassed look.
69/ Traditionally, the exhausted gaze is as follows: eyelashes, eyelids, and eyebrows are languid, moving slowly, while the pupils rotate weakly.
70/ The eyes either dart around or stop and gaze off to the side for a long time. There is a hidden fear in them. This is how a suspicious glance is shown.
71/ A stopped pupil, eyelids sadly lowering, closing the eyes and shifting the area of attention inward — this is a disappointed gaze.
72/ The closed tips of the eyelashes tremble, the upper eyelids cover the eyes, but then they open easily, revealing the pupils — this is how a closed gaze is shown.
73/ The ends of the eyelashes touch where the eyelids curve, and the pupil looks to the side—thus the squinting glance is demonstrated.
74/ A despairing glance is a glance of suffering from pain, shrouded in tears of anguish, with trembling eyelids and pupils expressing weakness.
75/ A sidelong glance is shown with pupils hidden behind narrowed eyelids, imperceptibly looking to the sides. The pupils themselves are enveloped in darkness and concealed.
76/ The corners of the eyes are sweetly narrowed, the eyebrows raised, the expression smiling and loving—such, according to tradition, is the contented gaze.
77/ From the sudden insight, the eyelids open wide, so that the pupils are fully visible. Something is being pondered. This is a contemplative gaze.
78/ Eyelashes half-closed, eyelids half-shut, pupils slightly moving from side to side, cheerfulness, a smile. Such is the half-closed glance.
79/ About the darting glance, it is said that its pupils do not stay in place; they wander in the middle of widely opened eyelids.
80/ With pulsating eyelids, with rotating and rolling pupils – such is the restless gaze.
81/ Traditionally, a short-sighted gaze is wrinkled outer corners of the eyelids, constantly blinking eyes, and unseeing pupils.
82/ About the open gaze, it is said thus: both eyelids are wide open, the eyes are bare, the pupils gaze intently, without moving.
83/ Eyes bulging with fear, trembling pupils in the center of wide-open eye sockets – these are signs of a frightened gaze.
84/ In the center of the eye, a wavering pupil, squinting toward the outer corner of the eyelids. The expression of the eyes is artless. Such is the intoxicated gaze of a slightly drunk person.
85/ The eyelids wrinkle and squint, the pupil cannot fix on a single object, the eyelashes tremble – this is the intoxicated gaze of one who has drunk heavily.
86/ The eyes open and then close again, the pupil, trying to make out something, moves to the lower part of the eye – such, according to tradition, is the intoxicated gaze of a very drunk person.
87/ Thus, I have described the 36 glances that give rise to rasa, and explained how they should be performed so as to be natural.
88/ Now hear in which rasa and which exactly are used the glances that give birth to rasa, in which sthāyibhāva and which glances pertaining to sthāyibhāva, as well as which glances correspond to sañcāribhāva in which vyabhicāribhāva.
89/ The absent gaze is known in the bhāva of anxiety and in the sattva-bhāva of stupefaction, while the dark gaze appears in the bhāva of despair and in the sattva-bhāva of pallor.
90/ A weary glance in bhāva is fatigue, and in sattvabhāva perspiration; a confused glance in case of embarrassment, and an exhausted one in place of bhāva obsession, illness, and emptiness.
91/ A suspicious glance in bhāva is suspicion, a disappointed one in bhāva is disappointment, and a closed one, they say, in those bhāva that are sources of pleasures – sleep and drowsiness.
92/ A narrowed glance in a situation of envy, upon seeing something unpleasant or poorly distinguishable, as well as in cases when the eyes hurt, while a despairing glance occurs in the bhāva of despair and in pain from a blow.
93/ A sidelong glance in bhāva is envy, stupidity, and laziness; a contented one in bhāva is satisfaction and joy; and a reflecting one in bhāva is conjecture and recollection.
94/ In cases of various pleasures, such as pleasant smells, touches, joyful feelings, and so on – a half-closed glance, and a darting one in the bhāva of confusion, as well as at the moment of coquetry or anxiety.
95/ A restless glance in bhāvas that carry suffering – irascibility, madness, dying, and the like, and a short-sighted glance – with defective vision or in a situation when visibility is poor.
96/ The open glance should be in the bhāva of awakening, pride, irritation, punishment, and discernment; the frightened glance should be in the bhāva of fear, and the intoxicated one in the bhāva of intoxication.
97/ Thus, these 36 views and their belonging to rasa and bhāva have been properly stipulated.
98/ Next, the movements of the pupils, eyelids, and eyebrows are explained. Bhramana, valana, pāta, calana, and sampraveśa,
99/ vivartana, samudvṛtta, niṣkrama and prakṛta – these are the positions of the pupils. Bhramana is the movement of the pupils in a circle along the edge of the eyelids.
100/ Valana is a movement to the corner of the eye, and pāta is the downward movement of the pupils. Calana is moving pupils, and sampraveśa is the withdrawal of the pupils inside the eyelids.
101/ Vivartana is the darting of the pupil, and samudvṛtta is an upward gaze. Niṣkrama is a motionless pupil, and prakṛta is the natural position of the pupils.
102/ Now about their use in rasa and bhāva. In the rasa of Heroism and Anger, where the pupils sometimes move and sometimes freeze, the movements bhrāmaṇa and niṣkrama are used.
103/ Also, bhramana together with valana are shown in the rasa of Fear, while in the rasa of Laughter and Disgust – sampraveśana.
104/ Pāta should be in the rasa of Compassion, and niṣkrama in the rasa of Wonder, prakṛta in the remaining rasas, but in the rasa of Love – the movement calana.
105/ It is precisely in this way that the movements of the pupils should be performed in rasa and bhāva. This will be the more successful the more it corresponds to how people do it in life.
106/ Now I will speak of the ways of looking: sāma, sācī and anuvṛtta, ālokita and vilokita,
107/ pralokita and ullokita, as well as avalokita. This manner of looking, in which the pupils are calm, motionless, and directed forward, is traditionally called sama.
108/ The manner in which the pupil, slightly hidden by the eyelashes, moves to the corner of the eye is called sachi, i.e., through the eyelashes. And when the gaze is, as it were, measuring or receding, closing from top to bottom, that is traditionally anuvṛtta.
109/ When the wide-open eyes rotate in a circle, it is called ālokita; when looking back, vilokita; and when looking to the sides, pralokita.
110/ when looking upward – ullokita, and when looking downward – avalokita. Such are these ways of looking, the foundation of all bhāva and rasa.
111/ Next, the positions of the feet are explained: unmeṣa and nimeṣa, prasṛta, kuñcita, and also sama,
112/ vivartita and sphurita, also pihita and vitadita. Unmeṣa is known as the separated eyelids,
113/ and nimeṣa – as joined, stretched – this is prasṛta, slightly contracted – kuñcita, and itself – this is the habitual position of the eyelids.
114/ Vivartita are the eyelids that are not visible, sphurita are pulsating, pihita are squeezed shut, and vitadita are known as damaged.
115/ Next, it is explained how these vekas should be applied in rasa and bhāva: In the rasa of Krodha, the vekas should be vivartita, with the application of unmeṣa and nimeṣa.
116/ For the performance of sthāyibhāva astonishment, the bhāva joy, and the rasa Heroism, prasṛta is traditionally used, and in those rasas where there is something unpleasant for sight, smell, or touch, the eyelids should be kuñcita.
117/ In the rasa Love, the eyelids are in their natural position, while in the case of jealousy, the eyelids should be sphurita. In situations of sleep, fainting, wind, heat, smoke, rain, when a girl applies collyrium to her eyes.
118/ or if the eyes hurt, the eyelids are pikhita, and in the case of a blow – vitadita. Thus, in rasa and bhāva, various positions of the pupils and eyelids are applied.
119/ Now we will explain what exactly the positions of the eyebrows are. Utkṣepa, pātana, and also bhrukuṭi and catura,
120/ kuñcita, recita, and sahaja — these are the 7 ways of moving the eyebrows. When the eyebrows, one after another, are raised not too high, such a movement is called utkṣepa,
121/ when they also move downward – this is pātana, and if they meet at the base – bhrūkuṭi.
122/ Slightly parted and attractively raised eyebrows are cātura, while a slight curvature of one or both is kuñcita.
123/ If one eyebrow is raised naively, it is recitā, while sahaja is, by tradition, the natural position of the eyebrows.
124/ Next, I will tell about their application in rasa and bhāva: In cases of fury, frivolity, play, in bhāva such as conjecture, etc. — the natural position for the eyebrows is utkṣepa,
125/ moreover, if a person looks closely or listens intently to something, only one eyebrow rises, and in sthāyibhāva it is astonishment, in bhāva it is joy, or in the case of fury – both eyebrows.
126/ In bhāva envy, in sthāyibhāva disgust, in rasa Laughter, or when a person sniffs at something, the eyebrows should be patana, and in sthāyibhāva blazing fury the wise apply the position bhrukuṭi.
127/ In the rasa Love, during the moment of play, in situations that grant tender, pleasant sensations, as well as in the bhāva awakening and similar states, cātura should be applied.
128/ In a conversation between a man and a woman, in various circumstances concerning intimate relationships, feigning refusal of amorous caresses, in striving for gracefulness and in demonstrating feigned indifference.
129/ the position of the eyebrows should be nikunchita. In dance, however, let the eyebrows be rechita, and for showing other states, the wise one uses the natural position of the eyebrows.
130/ Exactly such should be the positions of the eyebrows.
Now, explanations regarding the positions of the nose. Naṭa, manda, vikriṣṭa, socchavāsa, vikūṇita.
131/ and svabhāvika – these are the six traditional positions of the nose. Constantly contracting nostrils are nata, and manda is a sigh filled with sobbing;
132/ flared nostrils — in the position of vikriṣṭa, and saccvāsa is a long sigh; vikunita — a wrinkled, twisted nose, and svabhāvika — the natural position of the nose. Such is the tradition.
133/ Further, it is explained how this description of nose positions should be used. According to tradition, nata is performed in the case of a sigh or weak, intermittent sobbing.
134/ In bhāva despair, anxiety, and languor, as well as in sthāyibhāva anguish, it is known that the nose position mandā is used. Vikṛṣṭā, however, is used with a strong smell, and also in the rasa of Anger and Heroism.
135/ Saccchvāsa – in situations of sweet aromas and in the case of a long sigh,
136/ and what is called vikunita – in the rasa of Laughter, the sthāyibhāva is disgust and the bhāva is Envy.
137/ In other states, those who know this should practice svabhāvika.
Kṣamā, phula and ghūrṇa, as well as kampita, kuñcita and sama –
138/ here are the six positions of the cheeks. Next, their description is given. Kṣama – known as hollow, and phula – stretched cheeks;
139/ ghūrṇa – inflated, and kampita – trembling let them be; kuñcita – contracted, and sama – the natural position of the cheeks, thus it is said.
140/ Now an explanation regarding the application of this description of cheek positions. Kṣama should be performed in unhappy states, and phula – in the bhāva of Joy;
141/ ghūrṇa in sthāyibhāva is power and bhāva is pride, while kampita in sāttvika-bhāva is trembling and bhāva is joy. Kuñcita together with sāttvika-bhāva trembling – at the moment of touching something, also from cold, fear, or fever,
142/ and the natural position in the remaining bhāvas. Let such be the positions of the cheeks.
Vivartana and kampana, visarga and viniguhana,
143/ sandāṣṭaka and samudga – these are the six positions of the lower lip. Vivartana is the curved lip, while kampana, according to tradition, is the trembling one.
144/ visarga – spread, and viniguhana – drawn in, sandashtaka is performed by the twice-born as a bitten lip, and samudga – slightly protruding.
145/ Now the application of these described lip positions is explained. In the bhāva envy, in situations of suffering or neglect, in the rasa Fear, etc., the movement vivartana is used.
146/ Kampana – in cases of cold, fear, anger, haste, and the like. In the case of feminine playfulness, feigned indifference, or when a woman adorns herself – the position of the lips is visarga.
147/ Viniguhana – at the moment of exertion, sandaṣṭa – in the rasa of Anger, samudga – in compassion, a kiss, or a greeting.
148/ Thus has been told about the lips.
Now I will explain the position of the chin. Kuttana, khaṇḍana, chhinna, cukkita, lehana, sama
149/ and daṣṭa – here, thus, a description is given of the movement of the teeth and chin. Kuttana – grinding of the teeth, and khaṇḍana – repeated opening of the jaws;
150/ chhinna – these are firmly clenched teeth and lips, while chukkita – widely parted; leha – licking with the tongue, and in sama – the jaws should be slightly joined,
151/ and in daṣṭa, the teeth bite the lower lip. Further, their application. In the rasa of Fear and Anger, as well as in cases of feverish shivering and devouring something, let there be kuttana;
152/ when prayers are whispered, when reading, when conversing – one should use khaṇḍana, while chhinna is used in the rasa of Fear, as well as in moments of illness, stiffness, overcoming an obstacle, sobbing, and death;
153/ when yawning – cūkkita, and when licking – lehana should be done; sāma – in natural states, and sandāṣṭa – in the rasa of Anger.
154/ This is called the positions of the chin, because it involves the movements of the teeth, lips, and tongue.
Vidhūta, and vinivṛtta, nirbhugna, as well as bhugna,
155/ vivṛta and udvāhi are the positions of the mouth. Vinivṛtta is a distorted mouth, vidhūta is stretched across;
156/ with the lower jaw fallen away – nirbhugna, and bhugna – slightly open; the raised upper lip is vivṛta, and the mouth turned upward – udvāhita.
157/ Vinivṛtta arises in the rasa Anger, the bhāva envy, as well as in cases of jealousy and outright contempt, etc. This movement of the mouth should be understood by performers as pertaining to the feminine nature.
158/ vidhuta, however, is used when it is necessary to reflect danger, while the position nirbhugna is known to arise upon seeing something secret, and so on.
159/ Bhugna is used from embarrassment, in an awkward pause, as well as in the bhāva of despair, longing, reflection, and in a situation when someone arrives unexpectedly.
160/ vivṛta, as is known, is used in the rasa of Laughter, Fear, in the sthāyibhāva of astonishment, and similar states, while udvāhi is used in feminine play, in the bhāva of pride, and in the case when someone departs without showing respect.
161/ Thus it is named. And the wise should follow this and choose, for example, in case of need to utter angry words, the corresponding glance /sama, sachi, anuvritta, etc./, as well as the other expressive means.
162/ The next thing that should be known to the wise is another expressive capacity of the face. Its color. Four colors of the face are known:
163/ natural, pale, red, and black, depending on the occasion. The natural complexion should be in natural manifestations,
164/ i.e., in moderate bhāvas. A pale complexion – in the rasa of Wonder, Laughter, and Love.
165/ In the rasa Heroism and Anger, as well as in the bhava intoxication – red, and in the rasa Suffering, Fear and Disgust the face is coloured black.
166/ Thus, depending on what bhāva and rasa are being performed, one or another complexion is chosen, and in combination with the movements of the major and minor parts of the body, that abhinaya arises which alone is necessary.
167/ A face devoid of color, however, is not as striking, and its expressive possibilities are limited.
168/ Just as the Moon doubles its brilliance at night, so do the various bhāva and rasa intensify through the expressiveness of the eyes.
169/ Therefore, in theatre one should make up the face. Eyes filled with meaning should be highlighted and connected with the movements of the eyebrows and other parts of the face,
170/ and also to use changes in facial complexion in accordance with the various rasa and bhāva. Thus has the art of makeup been conveyed. It is based on bhāva and rasa.
171/ Further I shall speak, O twice-born ones, about the correct positions of the neck. Sama, nata, unnata, tryasra, recita, kuncita, ancita,
172/ valita and nivṛtta – these are nine of its positions. Sama – the natural position. It is used at the moment of religious contemplation, during the utterance of a prayer, or in habitual states.
173/ Nata – a neck bent forward, which occurs when putting on ornaments or when bowing. Unnata – a position of the neck in which the face is raised upward, for example, when entering a tall room.
174/ Tryasra – a neck bent to the side. It is performed when bearing a heavy load on the shoulder or in extreme grief. Recitā – a wavering movement. It arises with the aim of attracting someone or in an exciting part of the dance.
175/ Kuñcita – the neck drawn into the shoulders. This occurs when something is carried on the head or when the neck is protected. Añcita – the neck arches backward. This happens when tying or combing the hair, or when looking upward.
176/ Valita – when looking to the side with the face raised. This is a curved neck. Nivṛtta – a turn. For example, looking around oneself, and so on.
177/ Such are the various ways of moving the neck, for expressing different states of a person. However, any movement of the neck is a consequence of the movement of the head,
178/ and the position of the head arises from the movement of the neck. Thus, I have given a description of the positions of the head and its auxiliary parts. As for the movement of the other parts of the body, it follows below.
Thus ends the eighth chapter in the Nāṭyaśāstra of Bharata, called the one on the subsidiary parts of the body.
Continuation – in the following publications https://t.me/natyashastra 🙏