Natyashastra
Progress:28.4%
अतिक्रान्तक्रमे चैव पादमेतं प्रयोजयेत् । पादजङ्घोरुकरणं कर्म कार्य प्रयोक्तृभिः ॥ २८१॥
This foot movement should be used in the Atikrānta step (stride beyond the usual). The action involves the foot, shank, thigh, and hip, and is to be performed by the practitioner.
english translation
पादस्य करणं सर्व जङ्घोरुकृतमिष्यते । यथा पादः प्रवर्तेत तथैवोरुः प्रवर्तते ॥ २८२॥
All movements of the foot involve the shank and thigh as well. Just as the foot moves, similarly the shank moves accordingly.
english translation
अनयोः समानकरणात् पादचारी प्रयोजयेत् । इत्येतदङ्गजं प्रोक्तं लक्षणं कर्म चैव हि ॥ २८३॥
Because of the similar movements of these two, the foot's gait (pādacārī) should be performed. Thus, the characteristic and action are explained as connected with these limbs.
english translation
अतः परं प्रवक्ष्यामि चारीव्यायामलक्षणम् ॥ २८४॥
Therefore, now I shall explain the nature and characteristics of the practice of the cārī (dance steps).
english translation
1.
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)
अध्याय ९
Gestures Of Major Limbs (aṅga)
10.
अध्याय १०
Cari Movements
11.
अध्याय ११
Maṇḍala Movements
12.
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:28.4%
अतिक्रान्तक्रमे चैव पादमेतं प्रयोजयेत् । पादजङ्घोरुकरणं कर्म कार्य प्रयोक्तृभिः ॥ २८१॥
This foot movement should be used in the Atikrānta step (stride beyond the usual). The action involves the foot, shank, thigh, and hip, and is to be performed by the practitioner.
english translation
पादस्य करणं सर्व जङ्घोरुकृतमिष्यते । यथा पादः प्रवर्तेत तथैवोरुः प्रवर्तते ॥ २८२॥
All movements of the foot involve the shank and thigh as well. Just as the foot moves, similarly the shank moves accordingly.
english translation
अनयोः समानकरणात् पादचारी प्रयोजयेत् । इत्येतदङ्गजं प्रोक्तं लक्षणं कर्म चैव हि ॥ २८३॥
Because of the similar movements of these two, the foot's gait (pādacārī) should be performed. Thus, the characteristic and action are explained as connected with these limbs.
english translation
अतः परं प्रवक्ष्यामि चारीव्यायामलक्षणम् ॥ २८४॥
Therefore, now I shall explain the nature and characteristics of the practice of the cārī (dance steps).
english translation