Playlist 53: Nātyasāstra

Playlist 53: Nātyasāstra

All the Shlokas from the Nātyasāstra that are relevant to learning the Ćaris and Karanas. These are all taught according to the research of Dr Padma Subrahmanyam.

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Playlist 53: Nātyasāstra
  • Hastakaranas Introduction

    The movements of the wrists and fingers according to the Nātyasāstra.

  • Hastakarana Shloka

    The movements of the wrists and fingers according to the Nātyasāstra.

    apaveśtithameka syāth udveśtithamathaparam
    vyāvartitam tritīyantu ćaturtham parivartitam

    apaveśtitham
    udveśtitham
    vyāvartitam
    parivartitam

  • Grīva bheda Introduction

    The neck movements are considered one of the Mukhaja, or gestures of the face according to the Nātyasāstra.

    The movements are used primarily to communicate meaning in the context of gesture.

  • Grīva bheda Shloka

    The neck movements are considered one of the Mukhaja, or gestures of the face according to the Nātyasāstra.

    The movements are used primarily to communicate meaning in the context of gesture.

    Please refer to the Shloka below for pronunciation. Please note that the separate movements of the neck ...

  • Bru bheda Introduction

    The eyebrows are considered one of the Mukhaja, or gestures of the face according to the Nātyasāstra.

    The movements are used primarily to communicate meaning in the context of gesture.

  • Bru bheda Shloka

    The eyebrow movements are considered one of the Mukhaja, or gestures of the face according to the Nātyasāstra.

    The movements are used primarily to communicate meaning in the context of gesture.

    Please refer to the Shloka below for pronunciation. Please note that the separate movements of the he...

  • Driśti bheda Introduction

    The eye movements are considered one of the Mukhaja, or gestures of the face according to the Nātyasāstra.

    The movements are used primarily to communicate meaning in the context of gesture.

  • Driśti bheda Shloka

    The eye movements are considered one of the Mukhaja, or gestures of the face according to the Nātyasāstra.

    The movements are used primarily to communicate meaning in the context of gesture.

    Please refer to the Shloka below for pronunciation. Please note that the separate movements of the head w...

  • Shiro bheda Shloka

    The head is considered one of the Angas, or major limbs according to the Natyashastra.

    The movements of the head are used not only for the precise control in the execution of Nritta but also to communicate meaning in the context of gesture.

    Please refer to the Shloka below for pronunciation. ...

  • Pārśva Bheda Shloka

    The side, Parshva is considered one of the Angas, or major limbs according to the Natyashastra.

    The movements of the side are used not only for the precise control in the execution of Nritta but also to communicate meaning in the context of gesture.

    Please refer to the Shloka below for pronun...

  • Urō bheda Shloka

    The chest or Uras is considered one of the Angas according to the Natyashastra. The movements of the chest are used not only for the precise control in the execution of Nritta but also to communicate meaning in the context of gesture.

    Please refer to the Shloka below for pronunciation. Please no...

  • Katī bheda Shloka

    The hips are considered one of the Angas, or major limbs according to the Natyashastra.

    The movements of the hips and waist are used not only for the precise control in the execution of Nritta but also to communicate meaning in the context of gesture.

    Please refer to the Shloka below for pronun...

  • Pādah bheda Shloka

    The feet are considered one of the Angas, or major limbs according to the Natyashastra.

    The movements of the feet are used not only for the precise control in the execution of Nritta but also to communicate meaning in the context of gesture.

    Please refer to the Shloka below for pronunciation. P...

  • Bāhu bheda Shloka

    The arms considered one of the Upāngas, or minor limbs.

    The movements are used primarily to communicate meaning in the context of gesture and also clear articulation in dance or nritta.

    Please refer to the Shloka below for pronunciation. Please note that the separate movements of the head when...

  • Udara bheda Shloka

    The stomach is considered one of the Upāngas, or minor limbs.

    The movements are used primarily to communicate meaning in the context of gesture.

    Please refer to the Shloka below for pronunciation. Please note that the separate movements of the head when put together in a Shloka form 'Sandhis', ...

  • Ūru bheda Shloka

    The thighs are considered one of the Upāngas, or minor limbs according to the Natyashastra.

    The movements of the thighs are used not only for the precise control in the execution of Nritta but also to communicate meaning in the context of gesture.

    Please refer to the Shloka below for pronunciat...

  • Jānu bheda Shloka

    Jānu bheda according to the Sangīta Ratnākara, is an Upānga. The knees are considered one of the minor limbs.

    The movements of the knees are used not only for the precise control in the execution of Nritta but also to communicate meaning in the context of gesture. Some of the positions elucidate...

  • Janghā bheda Shloka

    The shins/ shanks are considered one of the Upāngas, or minor limbs according to the Nātyaśāstra

    The movements are used not only for the precise control in the execution of Nritta but also to communicate meaning in the context of gesture.

    Please refer to the Shloka below for pronunciation. Plea...

  • Pārśni bheda Shloka

    The heels are considered one of the Upāngas, or minor limbs

    The movements are used not only for the precise control in the execution of Nritta but also to communicate meaning in the context of gesture.

    Please refer to the Shloka below for pronunciation. Please note that the separate movements ...

  • Gulphā bheda Shloka

    The Ankle is considered one of the Upāngas, or minor limbs according to the Sangīta Ratnākara.

    The movements of the ankle are important in pure dance and in emotive contexts.

    Please refer to the Shloka below for pronunciation. Please note that the separate movements of the head when put togethe...

  • Thala bheda Shloka

    The soles of the feet are considered one of the Upāngas, or minor limbs.

    The movements are used not only for the precise control in the execution of Nritta but also to communicate meaning in the context of gesture.

    Please refer to the Shloka below for pronunciation. Please note that the separat...

  • Purusha Sthāna

    Though the Sthānakās, or static positions for male and female characters are not limited to be used only by a specific gender, they are the building blocks for Karanas.

    There are 6 Sthanakas for male characters.

    Vaiśnavam samapādam ća vaiśakham mandalam tathā
    pratyālīdam matālīdam sthanān yethā...

  • Strī Sthānas

    Though the Sthānakās, or static positions for male and female characters are not limited to be used only by a specific gender, they are the building blocks for Karanas.

    Āyatam avahittam aśvakrāntamatāpi ća
    Strīnām sthānāni kāryāni gatiśvabharaneśu ća

    Āyatam
    avahittam
    aśvakrāntam