Maharashtra HSC Dance Theory key terms

Ancient Sanskrit treatise on dramaturgy and dance attributed to Bharata Muni, dated roughly between 200 BCE and 200 CE; it sets out the theory of rasa, bhava, and abhinaya that underlies all classical Indian performance.

The aesthetic flavour or relish a spectator experiences when a performance awakens a dominant emotion; classical theory names nine rasas, including shringara, karuna, veera, and shanta.

An emotional state or feeling that is portrayed by the performer and, when fully communicated, ripens into rasa in the mind of the spectator.

The set of nine rasas codified in later Sanskrit aesthetics: shringara, hasya, karuna, raudra, veera, bhayanaka, bibhatsa, adbhuta, and shanta.

The means of carrying a performance to the audience; tradition recognises four kinds - angika (body), vachika (speech or song), aharya (costume and makeup), and sattvika (inner emotional states).

Expression through the body: gestures of the hands, movements of the limbs, postures of the torso, and facial expression used to convey meaning in dance.

Expression conveyed through external presentation, chiefly costume, jewellery, and makeup, which support the character and mood being portrayed.

Portrayal of intense inner states such as tears, trembling, or pallor, arising from the performer's absorption in the character rather than from outward technique alone.

Pure rhythmic dance movement performed for its own sake, without narrative or emotional meaning; it emphasises pattern, timing, and form.

Expressive dance that combines rhythmic movement with gesture and facial expression to convey mood or story, in contrast to pure rhythmic nritta.

The dramatic element of performance, combining dance, mime, and dialogue to tell a story; in the classical triad it stands alongside nritta and nritya.

A basic unit of rhythmic movement in Bharatanatyam, built from a set pattern of footwork, knee bends, and hand gestures; adavus are learned in graded series.

The half-sitting position in Bharatanatyam in which the knees are bent and turned outward, weight is lowered, and the spine stays upright; a foundation stance for many adavus.

A stance described in the Natyashastra in which the knees are bent and turned outward and the feet are placed apart; the text lists several such stances.

A codified hand gesture used to convey an object, action, or idea; single-hand and combined-hand gestures form the vocabulary of expressive dance.

The Sanskrit term for hand gesture; texts classify gestures as asamyuta (single hand) and samyuta (both hands joined), and also describe gestures used for dance alone.

The rasa of compassion and sorrow, evoked by loss, separation, or suffering; it is one of the nine rasas of classical theory.

A coordinated unit of dance movement described in the Natyashastra in which the body, hands, and feet combine into a single sculptural pose; the text lists 108 of them.

The metrical cycle that governs rhythm in Indian music and dance; each tala has a fixed number of beats, marked by claps, waves, and silent counts.

Tempo or speed in rhythm; laya may be slow, medium, or fast, and the controlled change of speed within a performance is itself an expressive device.

A single beat or unit of counting within a tala cycle; the number of matras defines the length of the cycle.

A rhythmic pattern of syllables or strokes recited to represent drum sounds; jathis are set within the tala cycle and guide the dancer's footwork.

The opening item of a Bharatanatyam margam; a short pure-rhythmic piece that invokes blessing and gradually unfolds the dancer's body from simple to complex movement.

A pure-dance item of the Bharatanatyam repertoire in which rhythmic syllables are rendered as melody, with no lyric or explicit meaning.

The central and most demanding item of the Bharatanatyam margam, combining elaborate pure dance with expressive passages that carry the main emotional theme of the recital.

An expressive item of the Bharatanatyam repertoire in which a short lyric is interpreted in detail through gesture and facial expression, often exploring love and devotion.

The traditional order of a Bharatanatyam recital, moving from pure rhythmic items through the varnam to expressive padams and concluding with a lively tillana.

A brisk concluding item of the Bharatanatyam repertoire, built largely on rhythmic syllables and pure movement, often closing a recital on an energetic note.

A popular Marathi song-and-dance form known for lively rhythm and expressive, often romantic or witty lyrics; it is a staple of Maharashtra's stage and folk repertoire.

A Marathi folk theatre tradition combining song, dance, and comic dialogue, in which the lavani and the dancer-singer are central attractions.

Community-based dance passed down by tradition rather than codified in a treatise; it often marks seasons, festivals, and rites, and varies by region and caste group.

A classical dance form from Andhra Pradesh that grew out of a dance-drama tradition; it combines pure dance with expressive storytelling and is known for fluid torso movement.

A classical dance form of northern India, developed in court and temple settings, known for intricate footwork, rapid spins, and rhythmic interplay with percussion.

A classical dance form of Odisha characterised by sculptural poses, the tribhanga stance, and fluid, rounded movement; temple sculpture strongly informs its vocabulary.

A three-bend stance in which the head, torso, and hips are deflected from a straight line, giving the body an S-curve; it is central to Odissi and appears in temple sculpture.

The teacher who transmits a dance tradition in person, guiding technique, repertoire, and interpretation; the guru–shishya relationship remains central to classical training.

A school or lineage of performance defined by a shared style and teaching lineage, especially in Kathak, where families and centres developed recognisable approaches.

A short invocatory sequence performed at the start of a Bharatanatyam recital, offering salutation to the deity, the guru, and the audience before the main items begin.

The practical arrangement of a performance, including stage space, lighting, sound, entrance and exit, and the placement of musicians relative to the dancer.