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necessarilly theatrical elements in themselves. When a dancer dances on the the stage just to exhibit his art, or a singer sings, there is no Natyadharmi, even as there is Natyadharmi in Figure Skating or acrobatics. When within a drama, a court dancer dances before the king, there is no Natyadharmi. But when such things are attributed to persons of the drama acting in life situations, then they become a theatrical gesture relative to the realistic norms assumed by the drama. (iii) Angika: Angikabhinaya is divided by Bharata into three parts. (1) Mukhaja: Gestures by the face dominated by movements of the head (13) glances, (36) looks, (8) movements of the eyelids, (9) of the eyebrows (7) of the cheeks, (6) of the chin, (7) of the face (6), of the neck (9) colour of the face, (4) movements of the lower lip, (6) etc. These are natural components of expressions and do not involve Natyadharmi. (2) Sarira: Movements of the various limbs of the body comprising the hands and the feet primarily, of which the dance steps and various gaits, jumps, etc. are composed. There are the gestures of the hands (hastamudr膩s) and a number of dance 'hands' also (mudr膩s called N峁泃tahastas) which are used both for dancing and representation. 3. Cestak峁泃a: This is the abhinaya constituted by the movement of the whole body, eg. various gaits (c膩ris), standing and sitting 77