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Angika
Abhinaya denotes the movements of angas like head, hands, waist and face. Pratyangas like shoulder, shoulder arm's, thighs, knees and elbows and upangas like eyes, eyelid, cheeks, nose, lips and teeth. Additional hastas (hand gestures) have always played a significant role in conveyance of the
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Another means of representation of the play is the costumes and physical decorations of the actors and the theatre. In dramas and dance dramas, costume and making are distinguished by the sex, race, sect or class, or the social position of the characters, giving the production of the presentation
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is the mental message, emotion or image communicated with the audience through the performer's own inner emotions. The dancer or actor has to use experience, something authentic, to capture the audience and to elicit an empathetic response. The human activity in other words, is traditionally
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is the opposite: realistic and un-stylised, involving very natural expression and movement, as occurs in daily life. Often this is the more difficult as the possibilities for interpretation of an emotion or a line of poetry are endless.
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some semblance of reality. The decorations of the stage theatre including lights and accessories are related to the scene of the depiction in which enhances the rasa between the audience and artists also comes under this category.
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includes the ability to direct the audience's gaze toward a particular sight, through eye movements. The performer's focused gaze cues the audience for where to look.
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as a dominant component - Koodiyattam, Nangyar
Kooothu, Ottan, Seetangan & Parayan - the three types of Thullal, Mudiyettu are the most popular.
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emotion and through of a soul. Many of the natural gestures are found common to mankind and their meaning easily understood.
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Speech is used in drama and also in music when the singer expresses the emotion through his or her singing. In the
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Kathakali Dance-Drama: Where Gods and Demons Come to Play
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