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Full Screen- Title
- CERTIFICATE
- DECLARATION
- CONTENTS
- Preface
- ABBREVIATIONS
- Part One Hastalaksanadipika - a study
- 1 Introduction
- Indian traditional theatre - a study of its aesthetics and dynamics
- Nature and conventions
- Music and dance
- Conventions of speech
- Preliminaries
- Tirassila
- Actor-audience relationship
- Actors theatre
- i Concept of abhinaya in general
- Angikabhinaya
- Gesture as a language
- ii Nandikesvara and Balarama Varma - their views in relation to the Hastalaksanadipika
- Nandikesvara as in abhinayadarpana
- The abhinayadarpana and the Natyasastra
- Balarama Varma as in Balaramabharata
- 2 Bharatas dramaturgy
- Antiquity of the NS
- Rasas
- Rasa theory
- Plays and play writing
- School of acting in general
- Modes of acting
- Regional ideantity
- i Special aspect of Bharatas dramaturgy
- The commendable use of symbolism
- On symbolism
- CHAPTERISATION
- Natyotpatti
- Mandapavidhana
- Rangadaivatapujavidhana
- Tandavalaksana
- Purvarangavidhana
- Rasavikalpa and Bhavavyanjaka
- Uttamangabhinaya
- Hastabhinaya
- Sarirabhinaya
- Carividhana
- Mandalavikalpana
- Gatipracara
- Kaksyapravrttidharmivyanjaka
- vacikabhinaya
- Vrttibheda
- Aharyabhinaya
- Samanyabhinaya
- Vaisika
- Citrabhinaya
- Prakrtivicara
- Bhumikavikalpa
- Natyavatara
- ii Lokadharmi and natyadharmi - schools of acting with special reference to Bharatas natyasastra
- CONCLUSION
- iii The built up sequence in stage business
- 3 Later developments of dramatic techniques
- i Abhinayadarpana- The basic layout
- Authorship and antiquity of the AD
- Relevance of the AD
- ii Number of mudras
- iii Study of Balaramabharata
- Balarambharata
- The author and his work
- As a patron of arts and literature
- The Maharaja as a poet
- CONTENTS and sources of the BRB
- Division of contents
- 1. Purvapithika
- 2. Upodghata
- 3. Uttamangabhinaya
- 4. Hastabhinaya
- 5. Other principal limbs
- 6. Rasnirupana
- 7. Upangabhinaya - Drstibhedas
- 8. Other upangas
- 9. Pratyangas
- Sources
- Adibharatha
- iv Number of mudras
- Lingabheda (different genders) of hastas
- 4 Hastalaksanadipika - a study
- i Author - place - date
- Mudras in the HLD
- ii Mudras in Hastalaksnadipika
- Plate I Mudras in Hastalaksanadipika
- Plate II Mudras in Hastalaksanadipika
- Plate III Mudras used in Kerala theatre mentioned in Hastalaksnadipika
- iii Study of kerala - Theatre
- Kutiyattom
- Nangiarkuttu
- Krsnanattom
- Kathakali
- iv Most popular gestures employed in kathakali and kutiyattom in recent days against their reference in Hastalaksanadipika
- Kathakali
- Kutiyattom
- 5 Comparison of the mudras of Hastalaksana-dipika, Bharatas natyasastra, Abhinayadarpana and Balaramabharata
- 6 Background of evolution of language of gestures in Keralas vedic recitation style
- i Mudras of the Namputiri Rgveda
- List of Rgveda mudras
- ii Mudras of the Namputiri Samaveda
- Plate 4 Rgveda mudras
- Plate 5 Rgveda mudras
- Plate 6 Rgveda mudras
- Plate 7 Samaveda mudras for the initial 0 of J.G.G.I.I
- Plate 8 Samaveda mudras for the initial 0 of J.G.G.I.I
- iii Comparison of vedic mudras with the mudras used in Kutiyattom and Kathakali
- iv Tantric mudras of Kerala
- v Comparison of Tantric mudras with the mudras used in Kerala theatre
- 7 Vacikabhinaya according to Bharatas Natyasastra
- i Relevance of vacikabhinaya
- Kakusvaravyanjana (modulation in voice)
- Svaras
- Vacikabhinaya in Kerala theatre
- ii The role of ragas in the exposition of sentiments
- Part two Translation and Critical edition
- Hastamudradipika chapter 1
- CHAPTER II
- Critical notes
- BIBILIOGRAPHY