365bet娱乐

of some r膩gas in the music of K奴峁璱y膩峁�峁璷m resemble with the dev膩ram music tradition in Tamil. Inclusion of the r膩gas like Inda岣穉, 艢r墨k膩mara and Kaisiki points to the same period. The essence of K奴峁璱y膩峁�峁璷m is in the 脜ngik膩bhinaya. Drama or R奴paka is called v膩ky膩rth膩bhinaya while Uparupaka and forms of dance-drama are called padarth膩bhinaya. The actor has first to express the whole or bh膩va which is the v膩ky膩rtha and then come to its break-up and interpret word by padartha. The v膩ky膩rtha is shown prominently by the actions of the parts of the face chiefly by the eyes, that is, in terms of Bharata, by the abhinaya of the upangas. The second aspect of this abhinaya, especially of the beautiful verses which blossom forth on the dialogues like flowers on the boughs, is the improvisation. Several ideas and sentiments are unfolded and elaborated through the techniques of abhinaya. The very scheme of sa帽caribh膩vas and the detailed description of the anubh膩vas, and again the elaboration of the interpretation through the six stages of 艢膩r墨r膩bhinaya - all set forth by Bharata, show that this should have been the ancient and traditional way of interpreting the text of the plays. Although there are no old manuals of such abhinaya handed down in Sanskrit for the classical plays, some indications of the time of interpretation in the actual manuals for a play are there in Ku峁�峁璦nimata in the K奴峁璱y膩峁�峁璷m tradition. 114