ASAMYUTA HASTAS KUCHIPUDI PDF

The Kuchipudi style follows Natyashastra more than any other dance form in India. Asamyuta Hastas – gestures of one hand carrying a certain semantic load. One of the most striking features of Indian classical dance is the use of hand gestures. So vast are the subtleties expressed in the hand gestures of hasta that the Bharatanatyam · Kathak · Kathakali · Kuchipudi · Manipuri · Mohiniyattam. Hastas / Mudras (hand gestures) are primarily classified as 28 Asamyuta Hastas ( one-hand gesture) and 24 Samyuta Hastas (two-hand gestures).

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Each aspect of Abhinaya, or the expressive means available to people, is given a detailed description in such competent treatise as Natyashastra written by the great Bharatamuni. The Kuchipudi style follows Natyashastra more than any other dance form in India. There are four kinds of abhinaya means of expression: Angika Abhinaya – the expression through various parts of body.

Vachika Abhinaya – the expression through voice, speech and song. Sattvika Abhinaya – the expression through bhavas, i.

Aharya Abhinaya – the expression through costumes, make-up and hzstas. Every person’s life becomes apparent by means of three aspects: Hastxs – mind 2.

Vak – speech 3.

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Asamyuta Hastas. Single Hands Gestures

In dance they are realized as sattvika, vachika and angika abhinayas respectively. Sattvika Abhinaya dominates mainly in Nataka dramaAngika abhinaya is expressed in Nritta pure dance, technique and aswmyuta are both equally strong in Nritya solo dance. There are three groups in Angika abhinaya: Hastas hand gestures are the part of Angika Abhinaya and include the ways of expression kuchipudo the physical body head, eyes, nose, hands etc.

In spite of the fact that the expression through gestures constitutes the minor part of Angika Abhinaya, their role is very important.

Their meaning is not only decorative but they are also indicative of the specificity of communication and action in relation to things. With all that one should distinguish the notions of hasstas and mudras. Although both of them are hand gestures we will call them hastas while speaking of a technical aspect of the dance and mudras if aamyuta is a necessary to distinguish a certain gesture in the dance that has a certain meaning.

Asamyuta Hastas – gestures of one hand carrying a certain semantic load. Samyuta Hastas – gestures of two hands also having certain meaning.

Nritta Hastas – decorative gestures without a certain meaning and which are the pure dance technique. Among the texts on the theory of dance two most competent sources are distinguished: Natyashastra and Abhinaya Darpana.

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There are some differences between them in either the number of hastas or in the number of their meanings. Thus Natyashastra mentions the following number of hastas: Abhinaya Darpana mentions 28, 23 and 13 respectively. This is how some differences in using hastas are explained for example between Kuchipudi and Bharatanatyam, these styles are simply based on different sources.

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The same holds true for hsstas i. Thus for example in Natyashastra they mention circa 35 different meanings for Pataka hasta while in Abhinaya Darpana there are more than 40 of them. Besides, the meanings of hastas are divided into three groups:.

Natural – the hastas expressing simple movements: Interpretive – the gestures imitating the most characteristic features of an object: Symbolical – the gestures asamyuuta to portray such notions as beauty, power, opinion, male or female sex etc. One can express almost everything in dance with the help of hastas, but their usage must not be isolated from the body movements and the meaning must necessarily be supported by expressions of face and eyes.

Theory of the dance.