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यस्मादभिनयस्त्वत्र प्रथमं ह्यवतार्यते । रङ्गद्वारमतो ज्ञेयं वागङ्गाभिनयात्मकम् ॥ २६॥
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).
english translation
शृङ्गारस्य प्रचरणाच्चारी सम्परिकीर्तिता । रौद्रप्रचरणाच्चापि महाचारीति कीर्तिता ॥ २७॥
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."
english translation
विदूषकः सूत्रधारस्तथा वै पारिपार्श्वकः । यत्र कुर्वन्ति सञ्जल्पं तच्चापि त्रिगतं मतम् ॥ २८॥
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).
english translation
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).
english translation
अतः परं प्रवक्ष्यामि ह्याश्रावणविधिक्रियाम् । बहिर्गीतविधौ सम्यगुत्पत्तिं कारणं तथा ॥ ३०॥
Now, I will explain the method of the recital, the correct origin, and the cause in the context of external singing.
english translation