Abhinaya and Expressive Aspects
Domain focus
This domain tests expressive technique: the four abhinaya types, rasa theory, and how Odissi interprets a lyric.
Core framework
- Angika: body movement - hasta, pada, posture and gait.
- Vachika: vocal and verbal elements - song, syllable and recitation.
- Aharya: costume, makeup, ornaments and stage properties.
- Sattvika: inner emotional states that produce involuntary signs such as tears or trembling.
- Navarasa: the nine rasas - shringara, hasya, karuna, raudra, veera, bhayanaka, bibhatsa, adbhuta and shanta.
- Drishti bheda: eye movements; mukha abhinaya: facial expression; sancharibhava: transitory feelings that build a stable bhava.
Worked example
A question asks which abhinaya type is illustrated by a dancer's eyes widening and lips trembling while the song is unchanged. Reasoning: the body and song are stable; the change is inner emotion showing outwardly. Answer: sattvika abhinaya, supported by mukha abhinaya.
Traps
Aharya is not only makeup; it includes costume and ornaments. Vachika is not the dancer's spoken explanation to the audience. Sattvika is not acting sad: it must arise from the character's inner state. Do not list ten rasas; shanta is the ninth, and shringara is not the only rasa.