Estimated reading time: 8 minutes
Lying-down!
“The body becomes a canvas of emotion when it touches the earth.”
This ancient wisdom from Bharata Muni transforms how we understand performance on stage.
The Natyashastra dedicates precise verses to śayanāsana (lying-down postures), recognizing that horizontal positions carry dramatic weight. Our teachers have spent years studying these postures in both text and practice.
Here is how you can learn and execute.
The Six Classical Forms
Bharata Muni identifies six distinct lying postures:
- Ākuñcita (contracted)
- Sama (balanced)
- Prasārita (extended)
- Vivartita (inverted)
- Udvāhita (elevated)
- Nata (curved)
आकुञ्चितं समं चैव प्रसारितविवर्तने ।
उद्वाहितं नतं चैव शयने कर्म कीर्त्यते ॥ २२८॥
ākuñcitaṃ samaṃ caiva prasāritavivartane |
udvāhitaṃ nataṃ caiva śayane karma kīrtyate || 228 ||
Meaning.
In lying-down positions, the actions are described as ākuñcita, sama, prasārita, vivartana, udvāhita, and nata.
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1. Ākuñcita: The Contracted Posture
Ākuñcita literally means “limbs are narrowed and knees pressed to the bed.” You can use this to show cold, shivering, or discomfort.
सर्वैराकुञ्चितैरङ्गैः शय्याविद्धे तु जानुनी ।
स्थानमाकुञ्चितं नाम शीतार्तानां प्रयोजयेत् ॥ २२९॥
sarvair ākuñcitair aṅgaiḥ śayyāviddhe tu jānunī |
sthānam ākuñcitaṃ nāma śītārtānāṃ prayojayet || 229 ||
When all the limbs are bent, with the knees drawn up on the bed, that posture is called Ākuñcita. It is used to depict those afflicted by cold.
How to perform it:
- Lie on your side or back with knees drawn tightly to the chest.
- Elbows bend close to the torso.
- Shoulders curve inward. Avoid spreading the limbs.
- The face should appear tense, lips slightly pressed.
Stage use: A warrior is freezing on a battlefield. Or a character is attacked by sudden fever.
Other Dramatic Applications
- Extreme fear or terror
- Physical pain or illness
- Protective withdrawal from danger
- Moments of deep shame or embarrassment
I once watched a Kathakali artist use ākuñcita to portray Draupadi’s humiliation in the dice game. The contraction spoke louder than any dialogue could.
2. Sama: The Balanced Posture
Sama means “equal” or “balanced.” This is the posture of deep, peaceful sleep.
उत्तानितमुखं चैव स्रस्तमुक्तकरं तथा । समं नाम प्रसुप्तस्य स्थानकं संविधीयते ॥ २३०॥
uttānitamukhaṃ caiva srastamuktakaraṃ tathā |
samaṃ nāma prasuptasya sthānakaṃ saṃvidhīyate || 230 ||
With the face turned upward and the arms loosened and free, the posture is called Sama. This position is used to depict one who is asleep.
How to perform it:
- Breath must appear even, without visible chest heaving.
- Lie flat on your back.
- Let arms fall naturally to the sides, palms downward.
- Legs remain straight, toes slightly outward.
Other Dramatic Applications
While Bharata designates this for deep sleep (suṣupta), performers also use it for:
- Death scenes (with subtle modifications)
- Deep meditation or trance states
- Exhaustion after intense physical activity
- Moments of complete surrender
The difference between sleep and death in sama posture? It’s all in the breath. Sleep breathes. Death doesn’t.
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3. Prasārita: The Extended Posture
Prasārita means “spread out” or “extended.” Here, your one arm acts as pillow, and your knees are stretched.
एकं भुजमुपाधाय सम्प्रसारितजानुकम् ।
स्थानं प्रसारितं नाम सुखसुप्तस्य कारयेत् ॥ २३१॥
ekaṃ bhujamupādhāya samprasāritajānukam |
sthānaṃ prasāritaṃ nāma sukhasuptasya kārayet || 231 ||
Resting on one arm, with the leg stretched out, the posture is called Prasārita. It is used to depict one sleeping comfortably.
How to perform it:
- A faint smile adds depth to the mood.
- Lie on your side.
- Place one arm beneath the head like a pillow.
- Keep legs extended but soft at the knees.
Other Uses
Bharata connects this with happiness (sukha-nidrā) like lover dreaming in joy or a child napping under the sun. Contemporary choreographers use this to show:
- Romantic languor after lovemaking
- Daydreaming or pleasant contemplation
- Recovery from joyful exhaustion
- Casual conversation while reclining
This posture appears frequently in Erotic Sentiment or Sringara sequences.
4. Vivartita: The Inverted Posture
Vivartita means “turned over” or “inverted.” The performer lies face-down to show death, wounds, intoxication, vomiting, or madness.
अधोमुखस्थितं चैव विवर्तितमिति स्मृतम् । शस्त्रक्षतमृतोत्क्षिप्तमत्तोन्मत्तेषु कारयेत् ॥ २३२॥
adho-mukhasthitaṃ caiva vivartitam iti smṛtam |
śastrakṣatamṛtotkṣiptamattonmatteṣu kārayet || 232 ||
Lying face down is called Vivartita. It is employed to depict one who is wounded by weapons, dead, unconscious, intoxicated, or mad.
How to perform it:
- No visible effort in holding the body.
- Lie face down, arms loose near the torso.
- Head may turn slightly to one side to avoid discomfort.
- Weight should appear heavy and lifeless.
5. Udvāhita: The Elevated Posture
Udvāhita means “raised up” or “elevated.” The head lifts, supported by the hand. Use this posture to show leisure, casual talk, or even listening attentively.
अंसोपरि शिरः कृत्वा कर्पूरक्षोभमेव च । उद्वाहितं तु विज्ञेयं लीलया वेशने प्रभोः ॥ २३३॥
aṃsopari śiraḥ kṛtvā karpūrākṣobhameva ca |
udvāhitaṃ tu vijñeyaṃ līlayā veśane prabhoḥ || 233 ||
Resting the head upon the shoulder, steady and unmoved, is called Udvāhita. It is used in playful or amorous settings with a beloved.
How to do it:
- Keep the gaze lively, showing alertness.
- Lie on your side.
- Prop the head with one hand, elbow resting on the ground.
- Move the top knee slightly in a soft, playful rhythm.
Modern performers use this for
- Flirtation and romantic play
- Gossip or intimate conversation
- Watching entertainment while reclining
- Moments of amused observation
6. Nata: The Curved Posture
Nata means “bent” or “curved.” The body creates a gentle arc. Here the legs are slightly stretched and hands are loosely resting. Use this to show laziness, fatigue or distress.
ईषत्प्रसारिते जङ्घे यत्र स्रस्तौ करावुभौ । आलस्यश्रमखेदेषु नतं स्थानं विधीयते ॥ २३४॥
īṣat-prasārite jaṅghe yatra srastau karāvubhau |
ālasyā-śrama-khedeṣu nataṃ sthānaṃ vidhīyate || 234 ||
When the legs are slightly stretched and both arms lie loose and relaxed, this posture is called Nata. It is used to depict states of laziness, fatigue, or exhaustion.
How to do it:
- Breath shallow, eyes half-closed to show weariness.
- Lie on your back or side with legs partly extended.
- Arms fall naturally without tension.
- Fingers relaxed, not clenched.
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Frequently Asked Questions
They convey states like sleep, death, joy, fatigue, and sickness with clarity and authenticity.
The Sama posture, where the performer lies on the back with arms relaxed.
Through the Nata posture, with loosely stretched legs and resting hands.
The Vivartita posture, lying face down.
Yes. While rooted in tradition, they enhance realism in both classical and contemporary storytelling.
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Conclusion
These six lying-down postures form a complete system for horizontal performance. They serves specific dramatic character needs. Each carries centuries of performance wisdom.
Use these forms through patient practice. Feel their emotional logic in your body. Then transcend mere technique to find the living truth within each posture.
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