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Vrttis or modes of acting are many, but Bharata has classified them into four for the sake of convenience. They are Bharativrtti (vocal acting), Satvativrtti (emotional acting), Kaisikivrtti (delicate acting dominating in the elucidation of the Srngararasa) and Arabhativrtti (virile or dynamic and battle like acting). Each of these four modes of acting have again four angas (subdivisions) which may be adapted to suit a particular situation. It is stated in the Natyashastra that Lord Brahma, the creator, derived these four modes of acting from the four forms of combat the Almighty employed to conquer the evil forces. It is these four modes of acting that differentiate abhiniya (presentable) and anabhiniya (nonpresentable) aspects of literature. Hence these vrttis are called 50

natyamatrkas, bases of drama. It is interesting to note that Bharata compared vrttis to svaras (notes) and vrttyangas to srutis (quartertones in music). These four modes of acting are to be found in the two plays Nataka and Prakarana, just as the ten forms of play have a place in each of them. That is why Nataka and Prakarana have been recognised as Purnavrttirupakas or full-blown plays. In other forms of the plays all these four modes may not be present. Not only that but they may lack some of the sub-divisions of a particular mode. The importance of the modes of acting is determined by the rasa which is intended to be produced. That is why it has been specified by Bharata that a particular rasa employs a definite mode of acting. For example, the Kaisiki mode of acting will be presented in creating the rasas Srngara and Hasya. The Satvati mode of acting motivated by thought is employed to produce the rasas Vira and Adbhuta. The Arabhati mode of acting is intended to produce the rasas Raudra and Bhayanaka. And finally, the Bharati mode produces the rasas Bibhatsa and Karuna.