Natyashastra
Progress:35.0%
गन्तव्यं विक्रमैर्विप्राः पञ्चतालान्तरोत्थितैः । नियुद्धसमये चैव रङ्गावतरणे तथा ॥ १५६॥
O Brāhmaṇas, \॥ in this gait॥ one should walk with vigorous strides, raising the feet five Tālas high—both during hand-to-hand combat and while entering the stage.
english translation
gantavyaM vikramairviprAH paJcatAlAntarotthitaiH । niyuddhasamaye caiva raGgAvataraNe tathA ॥ 156॥
hk transliteration by Sanscriptसिंहादीनां प्रयोक्तव्या गतिरेषा प्रयोक्तृभिः । शेषाणामर्थयोगेन गतिं स्थानं च योजयेत् ॥ १५७॥
This gait is to be used by actors for representing lions and similar animals. For other animals, both the gait and the posture should be adapted appropriately according to the dramatic context.
english translation
siMhAdInAM prayoktavyA gatireSA prayoktRbhiH । zeSANAmarthayogena gatiM sthAnaM ca yojayet ॥ 157॥
hk transliteration by Sanscriptवाहनार्थप्रयोगेषु रङ्गावतरणेषु च । एवमेताः प्रयोक्तव्या नराणां गतयो बुधैः ॥ १५८॥
In the case of carrying loads or being used as mounts, as well as during entry onto the stage, such gaits are to be employed by wise actors for representing men (and beings).
english translation
vAhanArthaprayogeSu raGgAvataraNeSu ca । evametAH prayoktavyA narANAM gatayo budhaiH ॥ 158॥
hk transliteration by Sanscriptनोक्ता या या मया ह्यत्र ग्राह्यास्तास्ताश्च लोकतः । अतः परं प्रवक्ष्यामि स्त्रीणां गतिविचेष्टितम् ॥ १५९॥
Those \॥ Gaits॥ which have not been described here by me are to be adopted from common usage. Now, I shall describe the Gaits and movements of women.
english translation
noktA yA yA mayA hyatra grAhyAstAstAzca lokataH । ataH paraM pravakSyAmi strINAM gativiceSTitam ॥ 159॥
hk transliteration by Sanscriptस्त्रीणां स्थानानि कार्याणि गतिष्वाभरणेषु च । आयतं चावहित्थं च अश्वक्रान्तमथापि च ॥ १६०॥
The standing postures (Sthānas) of women are to be applied in walking, wearing ornaments, and other movements. These are Āyata, Avahittha, and Aśvakrānta.
english translation
strINAM sthAnAni kAryANi gatiSvAbharaNeSu ca । AyataM cAvahitthaM ca azvakrAntamathApi ca ॥ 160॥
hk transliteration by Sanscript1.
अध्याय १
Origin of Drama
2.
अध्याय २
Description of the Playhouse
3.
अध्याय ३
Pūjā to the Gods of the Stage
4.
अध्याय ४
Description of the Class Dance
5.
अध्याय ५
Preliminaries of a Play
6.
अध्याय ६
Sentiments (rasa)
7.
अध्याय ७
Emotional and other States (bhāva)
8.
अध्याय ८
Gestures of Minor Limbs (upāṅga)
9.
अध्याय ९
Gestures of Major Limbs (aṅga)
10.
अध्याय १०
Cari Movements
11.
अध्याय ११
Maṇḍala movements
अध्याय १२
Different Gaits (gati)
13.
अध्याय १३
Different Gaits (gati)
14.
अध्याय १४
Zones (kakṣyā) and Local Usages (pravṛtti)
15.
अध्याय १५
Verbal representation (vācika) and Prosody (chandaḥśāstra)
16.
अध्याय १६
Metrical Patterns (chandas)
17.
अध्याय १७
Diction of a Play (lakṣaṇa)
18.
अध्याय १८
Rules on the use of Languages (bhāṣā)
19.
अध्याय १९
Modes of Address (nāman) and Intonation (kāku)
20.
अध्याय २०
Ten Kinds of Play (daśarūpa)
21.
अध्याय २१
Limbs of Segments (sandhi)
22.
अध्याय २२
Styles (vṛtti)
23.
अध्याय २३
Costumes and Make-up (nepathya)
24.
अध्याय २४
Harmonious Representation (sāmānyābhinaya)
25.
अध्याय २५
Dealings with Courtezans (veśyā)
26.
अध्याय २६
Varied Representation (citrābhinaya)
27.
अध्याय २७
Success in Dramatic Production (siddhi)
28.
अध्याय २८
On the Instrumental Music (ātodya)
29.
अध्याय २९
On Stringed Instruments (tata)
30.
अध्याय ३०
On Hollow Instruments (suṣira)
31.
अध्यायः ३१
On the Time-measure (tāla)
32.
अध्यायः ३२
The Dhruvā Songs
33.
अध्यायः ३३
On Covered Instruments (avanaddha)
34.
अध्याय ३४
Types of Characters (prakṛti)
35.
अध्याय ३५
Distribution of Roles (bhūmikā)
36.
अध्याय ३६
Descent of Drama on the Earth
37.
अध्याय ३७
adhyAya 37
Progress:35.0%
गन्तव्यं विक्रमैर्विप्राः पञ्चतालान्तरोत्थितैः । नियुद्धसमये चैव रङ्गावतरणे तथा ॥ १५६॥
O Brāhmaṇas, \॥ in this gait॥ one should walk with vigorous strides, raising the feet five Tālas high—both during hand-to-hand combat and while entering the stage.
english translation
gantavyaM vikramairviprAH paJcatAlAntarotthitaiH । niyuddhasamaye caiva raGgAvataraNe tathA ॥ 156॥
hk transliteration by Sanscriptसिंहादीनां प्रयोक्तव्या गतिरेषा प्रयोक्तृभिः । शेषाणामर्थयोगेन गतिं स्थानं च योजयेत् ॥ १५७॥
This gait is to be used by actors for representing lions and similar animals. For other animals, both the gait and the posture should be adapted appropriately according to the dramatic context.
english translation
siMhAdInAM prayoktavyA gatireSA prayoktRbhiH । zeSANAmarthayogena gatiM sthAnaM ca yojayet ॥ 157॥
hk transliteration by Sanscriptवाहनार्थप्रयोगेषु रङ्गावतरणेषु च । एवमेताः प्रयोक्तव्या नराणां गतयो बुधैः ॥ १५८॥
In the case of carrying loads or being used as mounts, as well as during entry onto the stage, such gaits are to be employed by wise actors for representing men (and beings).
english translation
vAhanArthaprayogeSu raGgAvataraNeSu ca । evametAH prayoktavyA narANAM gatayo budhaiH ॥ 158॥
hk transliteration by Sanscriptनोक्ता या या मया ह्यत्र ग्राह्यास्तास्ताश्च लोकतः । अतः परं प्रवक्ष्यामि स्त्रीणां गतिविचेष्टितम् ॥ १५९॥
Those \॥ Gaits॥ which have not been described here by me are to be adopted from common usage. Now, I shall describe the Gaits and movements of women.
english translation
noktA yA yA mayA hyatra grAhyAstAstAzca lokataH । ataH paraM pravakSyAmi strINAM gativiceSTitam ॥ 159॥
hk transliteration by Sanscriptस्त्रीणां स्थानानि कार्याणि गतिष्वाभरणेषु च । आयतं चावहित्थं च अश्वक्रान्तमथापि च ॥ १६०॥
The standing postures (Sthānas) of women are to be applied in walking, wearing ornaments, and other movements. These are Āyata, Avahittha, and Aśvakrānta.
english translation
strINAM sthAnAni kAryANi gatiSvAbharaNeSu ca । AyataM cAvahitthaM ca azvakrAntamathApi ca ॥ 160॥
hk transliteration by Sanscript