Aspects of Abhinaya in Indian Performing Arts-Sastra and Prayoga

Abhinaya has often been translated as 'histrionics' even 'acting'. Bharata in his Natyaśāstra, a text to which all current classical Indian dance forms of India relate to, has given a detailed account of Abhinaya and its classification into ängika, vācika, āhārya and sättvika. Though Bharata has explained Abhinaya in context to Indian drama, sanskrit texts like Abhinaya Darpana, Sangiita Ratnakara and many regional texts that came later have given detailed account of Abhinaya in context to dance also. The current book written by scholars, academicians and performers, focusses on the textual traditions and their influence and importance in the current performance scenario. The book *Aspects of Abhinaya in Indian Performing Arts-Sastra and Prayoga' gives an explanation of important terms and concepts, adopted in different classical dance forms, through śloka-s from various texts, that will be valuable to both researchers as well as the knowledge seekers.

The Bharatiya Vidya Bhawan, Delhi Kendra since its inception has made earnest efforts towards inculcating and nurturing values, deeply rooted in Indian culture, in the young impressionable minds of the Indian youth, through learning of Indian Arts, languages and the rich Indian traditions

With this aim, the Delhi Kendra since a decade, has been promoting Sanskrit and Sanskriti, through the publication of Bhavan's series on Sanskrit texts on music, dance and drama. The series covering many aspects of Indian performing traditions of the past which are important and relevant even in the present times, have received wide acclaim by critics, scholars and researchers. The series have so far covered important texts like the Instruments of Classical Music Dance Traditions in India, Abhinavgupta, Natyaśāstra, Silappatikāram, Brhaddēšī, Sangitaratnākara, Sangitadarpana, Sangitapārijāta, Mānasölläsa, and Sangita Samayasara.

This year's Bhawan's book series covers 'Aspects of Abhinaya in Indian performing Arts - Sastra and Prayoga', with articles written by academicians and scholars, some of who are reputed performers, who have expanded and enhanced their style through the study of both Sanskrit as well as the regional texts, thereby bridging the gap between shastra and prayoga

I thank all the scholars who have contributed towards the publication of this Book through their research articles, which I am sure will find interesting reading for those who seek knowledge about Indian performing arts and also benefit the young research scholars in their research pursuits