Here, it is understood that the first stage of performance (Abhinaya) is introduced with the entrance at the stage door, which is associated with vocal and physical expression (Vanganga Abhinaya).
The term "Chari" is described as associated with the performance of the erotic (Shṛṅgāra) and the fierce (Raudra) emotions, with the highly expressive movements being specifically termed as "Mahācāri."
The Vidūṣaka, Sūtradhāra, and Pāripārśvika are involved in the dialogue or conversation (Sañjalpa), and this conversation is considered a part of the three-fold process (Tri-gata).
उपक्षेपेण काव्यस्य हेतुयुक्तिसमाश्रया । सिद्धेनामन्त्रणा या तु विज्ञेया स प्ररोचना ॥ २९॥
The conversation that is based on reason and supported by the purpose of the narrative, which is achieved through a proper invocation, is known as Praroçanā (stimulus).