10 Minutes With Shantha : Chapter 07 Summary - Theory behind Performing Arts

Narrated by Shantha Lakshmi

Episode Transcript

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Chapter 7.

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Theory behind performing arts.
This chapter explores the significance of theory in performing arts, particularly Bharat
Natim, emphasizing its role in understanding the art form's nuances, context and deeper
meanings.
Theory is essential for preserving traditions, enhancing artistic expression and fostering

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a comprehensive understanding of the art form.
Preservation and transmission of tradition.
Role of theory.
Theory serves as a foundation for preserving and transmitting Bharat Natim's rich traditions
and cultural heritage.
It includes the history, origin, evolution and contributions of renowned artists and

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gurus, ensuring a curate and authentic passage to future generations.
Understanding the Natishastra.
Ancient treatise.
The Natishastra, attributed to sage Bharata, is a comprehensive guide for Bharat Natim
and other classical dance forms.
It covers chorified gestures called mudras, facial expressions called abhinaya, musical

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aspects and the overall structures and aesthetics of the dance.
Research of the Natishastra empowers dancers to execute techniques with precision and authenticity.
Enhancing the artistic expression.
Deeper understanding.
Theory provides dancers with insights into the conceptual and philosophical underpinnings

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of Bharat Natim.
It helps them understand symbolism, storytelling techniques and emotional dimensions, allowing
for more depth and authenticity in their performances.
Interpreting rasa and bhava.
Emotional expression.
Theory explores rasa which is authentic experience and bhava is an emotional expression, detailing

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how to create and evoke different emotions through movement and abhinaya.
This understanding enables dancers to connect with their emotions and effectively communicate
with the audience, fostering a deeper appreciation for the art form.
Fostering critical analysis and creativity.

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Analytical approach.
Theory encourages critical analysis and reflecting thinking, allowing dancers to evaluate and
refine their movements, expressions and overall execution.
This promotes artistic growth and encourages innovation in choreography.
Building a comprehensive skill set.

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Holistic training.
Theory complements practical training by providing knowledge of rhythmic patterns,
tala and musical compositions, sahitya and collaboration with musicians.
This holistic understanding equips dancers to adopt various styles and explore diverse

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artistic avenues.
Understanding artistic intellectualism.
Intellectual engagement.
Theoretically, knowledge cultivates artistic intellectualism, fostering critical thinking,
analytical abilities and a deeper appreciation for the art form.

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It enables dancers to engage in discussions, research and collaborations contributing to
the evolution and growth of Bharat Natyam.
Traditions of Shruti and Smriti.
Oral and Textual Traditions.
This chapter emphasizes the importance of both oral, Shruti and textual Smriti traditions.

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Oral tradition involves the transmission of cultural knowledge through listening while
textual tradition involves documenting this knowledge for preservation and clarity.
Both traditions are complementary and essential for the continuity of Bharat Natyam.
Critic and defense of Indic traditions.

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Scientific basis.
Indic traditions include Bharat Natyam, have a solid scientific and logical foundation.
Critics often struggle to find faults due to the robust structure of these traditions.
The chapter highlights the importance of understanding and defending the logical and scientific

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basis of these traditions.
Relevance of Textual Tradition.
Enhanced performance.
Studying theoretical texts like the Natya Shastra enhances performance by providing a deeper
understanding and systematic analysis of movements and expressions.
The textual tradition offers a structured approach to learning and performing Bharat

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Natyam, ensuring higher quality and impact in performances.
Components of Analysis.
Upanga.
Minor limbs including eyes, eyebrows, eyelids, pupils, cheeks, nose, jaws, lower lip, teeth,
tongue, shin, face, heels, ankles, fingers and soles.

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Sthanaka.
The resting posture of a dancer before or after a movement with varied positions of
the feet.
Pratyanga.
Substructures or subsidiary parts of the body attached to minor organs and position
in relation to major organs.

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In conclusion, interconnected traditions, theory and practice in Bharat Natyam are interconnected
with theory providing a deeper understanding and practical skills enhancing performance.
Both are essential for preserving the art form, enhancing the artistic expression and

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fostering intellectual engagement.
The chapter emphasizes the importance of studying theory to achieve excellence in Bharat
Natyam and ensure its continuity and relevance in contemporary times.