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The n膩峁瓂a ma峁囜笉apas are divided generally into three types according to their measurements and then further divided into three. The doors to the green room are seen in either side of the back wall. The orchestra should be placed in between the two doors. The whole stage can be divided into six parts out of which one is for orchestra. Other places can be used by the artists. By the difference in the various movements on the stage, the respective divisions could be marked. A change in the movement on the stage is indicative of the change in the division also.

Abhinava views,

tatra 辫谤补迟丑补尘补峁� 办补办峁�y腻bhidh膩ne'yamabhipr膩ya岣� iha gatirgantavyade艣膩艣ray膩t, desa艣ca jalasthal膩di bahutarasamavi峁�am膩disvabhedasahita峁� k膩vy膩rthat膩m膩tre峁嘺iveha sa峁僢havannapi prayogasthane na sa峁僢havatyeveti, tasya parih膩r膩rtha峁� 办补办峁�y腻 苍颈谤奴辫补峁嘺峁� kartavyam |

Raghavan says, Bharata views that we should resort to a rectangular stage to present dances involving much to-and-fro movements, gata-agata-pracara, which are impossible on a stage of smaller width. He also says that in the square and the triangular stages the 肠补迟耻谤补艣谤补 gait only is possible.

The particular region in which the event takes places, a city, forest, or a mountain is to be shown.

It should also be indicated whether the place of action is outside, in the middle, or inside as also whether it is far away or nearby.

nagare 惫腻 vane 惫腻'pi var峁�e 惫腻 parvate'pi惫腻 |
yatra 惫腻谤迟腻 pravarteta tatra 办补办峁�y腻峁� prayojayet ||
产腻丑测补峁� 惫腻 尘补诲丑测补尘补峁� 惫腻'pi tathai惫腻bhyantara峁� puna岣� |
诲奴谤补峁� 惫腻 蝉补苍苍颈办峁涐梗峁璦峁� 惫腻 诲别艣补峁� tu parikalpayet ||

The same spot on the stage can be made as large medium or short steps by the different character. For this, various changes in the gait should be practiced with suitable 肠腻谤墨蝉 and 办补谤补峁嘺蝉. The movements of characters can be represented in various locales and performed as traversing in the sky, using aerial chariots or by resorting to illusive to divine power, etc.

Abhinava elucidates this:

parikr膩mantyaneneti parikr膩ma岣� c膩ry膩disa峁僴ive艣a岣� tadva艣膩dekasy膩pi ra峁単ade艣asyasthanabheden膩parityaga岣�, yath膩-膩ro岣峢umudvahedg膩tra峁�, atikr膩ntena p膩dena ityadin膩 惫颈艣别峁�a tu pr膩s膩daparvat膩dir奴patvamasyaiva ||

膩kr膩nt膩岣� p峁泃hus膩nuku帽jagahan膩 meghopam膩岣� parvat膩岣�
  si峁僪avy膩ghragajendrap墨tasalil膩 nadya艣ca 迟墨谤峁嚹� 尘补测腻 |
办谤腻苍迟补峁� 辫耻峁�p补辫丑补濒腻岣峢测补辫腻诲补辫补测耻迟补峁� 肠颈迟谤补峁� mahat 办腻苍补苍补峁�
  sampr膩pto'smi kap墨ndrasainyasahito vel膩ta峁璦峁� s膩mpratam ||^[1]

鈥淭丑别 cloud like mountains with towering peaks, groves and lakes I traversed streams whose waters are drunk by tuskers, lions and tigers and vast forests full of trees laden with fruits and flowers. Now I have come to this ocean with the host of monkeys.鈥�

Gait of 搁腻尘补 can be performed with 办谤腻苍迟补 and ati办谤腻苍迟补 办补谤补峁嘺蝉 in the various divisions of the stage.

Footnotes and references:

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[1]:

A.N.IV.2.