Sthānaka Bheda
Playlist 59: Abhinaya Darpana Shlokas
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Th Sthanaka Bheda in the Abhinaya Darpana are quite varied from those that we call Sthanakas in the Natyaśaśtra. Be sure not to be confused with one another.
samapaadanća eka paadam naagabandhasthatha param
aindreća garudasćaiva brahmastanamithi kramam
1. Samapāda – standing with both feet alike. Used to offer flowers and playing the role of God
2. Ekapāda – standing with one foot and laying the other foot across the knee of standing leg. Used to denote practice of penance and motionlessness
3. Nāgabandha – standing like a serpant interwining two feet and two hands together
4. Aindra – standing in araimandi with one foot laying across the knee of standing leg. Used in suggesting Indra and a King
5. Garuda – standing in Aalīdha position with the left knee is put down on the ground and hands in Garuda hasta. Used to denote Garuda
6. Brahma – sitting in padmāsana with hands resting on either knee in Hamsa hasta. Used to denote meditation
Up Next in Playlist 59: Abhinaya Darpana Shlokas
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Mandala Bheda
The leg positions according to the Abhinaya Darpana are very different from the Natyaśaśtra. Mandala, itself has a different meaning in both the texts. Please remember to note that this śloka is specifically from the Abhinaya Darpana.
स्थानकं चायतालीढम् प्रेण्खणप्रेरितानि च
प्रत्यालीढम् स्वस्... -
Ćaris (Abhinaya Darpana)
A Ćari is a type of gait or manner in which the body can move. Taken from the root word 'ćar' to move in sanskrit, it represents a movement through space. The ćaris of the Abhinaya Darpana are very different from the ćaris of the Nātyaśaśtra
These types of gaits are used primarily to communicate...