Time needed: 20 hours

1. abhinaya (अभिनय)
   
   (uh-bhee-nui-uh)

   n. Acting, expression. The art of conveying emotions and ideas through bodily movement, facial expressions, vocalization, and costumes.

2. ābharaṇa (आभरण)
   
   (aa-bhuh-ruh-nuh)

   n. Ornament, in the technical sense of alaṃkāra. Bharata classifies all ābharaṇa into four types by method of attachment: āvedhya, bandhanīya, prakṣepya, āropya.

3. aharya (आहार्य)
   
   (aa-huh-ryuh)

   n. Costume and makeup. The external elements used to create a character’s appearance and social status.

4. aharya abhinaya (आहार्य अभिनय)

   
   (aa-huh-ryuh uh-bhee-nui-uh)
   n. Expression through costumes and makeup. Refers to the external elements used to enhance the portrayal of a character.

5. alaṃkāra (अलंकार)
   
   (uh-lung-kaa-ruh)

   n. Decoration and ornamentation applied to the performer’s body according to rules of placement; one of the four categories of nepathya, comprising garlands (mālā) and ornaments (ābharaṇa).

6. anga (अंग)
   
   (uhng-guh)

   n. Limb. Used in compound words like angika (bodily expression).

7. aṅgaracanā (अङ्गरचना)
   
   (uhng-guh-ruh-chuh-naa)

   n. The painting or colouring of the performer’s skin – facial make-up and body paint. One of the four categories of nepathya; also discussed as the mechanism behind character colour assignment (varna vidhana).

8. angahara (अङ्गहार)

   
   (uhng-guh-haar)
   n. The combination of karanas (specific movements) into a sequence. These form the fundamental framework of classical dance choreography.

9. angika (अंगिक)
   
   (uhng-gi-kuh)

   n. Bodily expression. The use of limbs, posture, and gestures to convey meaning and emotion in performance.

10. aṅkura (अङ्कुर)

    
    (aṅ-ku-ra)
    n. Sprout of expression. Literally “sprout,” aṅkura is a type of representation in abhinaya where innate feeling and intention emerge through bodily gestures and expressions corresponding to the psychological state of the character. It often follows or complements sūcā, representing inner impulse or subtle emotional unfolding in performance.

11. apsara (अप्सरा)
    
    (uhp-suh-rah)

    n. Celestial nymph, heavenly maiden. Beautiful female beings associated with music, dance, and the arts.

12. apsara srushti (अप्सरा सृष्टि)

    
    (uhp-suh-rah sroo-shtee)
    n. The creation of apsaras. Mythical celestial beings, created to enhance the Kaishiki style of performance and embody the essence of feminine grace and artistry.

13. āropya (आरोप्य)
    
    (aa-rohp-yuh)

    adj. Put-round-type ornament, encircling the body (e.g. necklaces and neck-chains such as the hāra).

14. asamyuta hastas (असंयुक्त हस्त)

    
    (uh-sum-yoo-tuh huh-stuhs)
    n. Single-hand gestures. A codified system of 28 gestures used to convey meaning and emotion.

15. āvedhya (आवेध्य)
    
    (aa-vaydh-yuh)

    adj. Piercing-type ornament, fixed through the body (e.g. the kundala ear-ring).

16. bandhanīya (बन्धनीय)
    
    (bun-dhuh-nee-yuh)

    adj. Tied-type ornament, bound to the body rather than pierced (e.g. the waist-girdle or aṅgada arm-band).

17. bhāgavān (भगवान)
    
    (bhah-guh-vaan)

    n. Lord, respected one. A term used to address deities or revered figures.

18. bhava (भाव)
    
    (bhah-vuh)

    n. Emotion, sentiment. The inner emotional state of a character.

19. cari (चारी)
    
    (chah-ree)

    n. Footwork. Specific sequences of steps used in Indian classical dance.

20. ceṣṭima (चेष्टिम)
    
    (chesh-tee-muh)

    n. A sub-type of pusta: objects set in motion by direct performer action rather than mechanism, such as a swung lamp or fluttered flag.

21. citra (चित्र)
    
    (chi-truh)

    adj. Variegated – multi-coloured, patterned cloth. One of the three fabric classes for stage costume, assigned to gods, kings, and spectacle characters.

22. desi (देशी)

    
    (day-shee)
    n. Regional or folk style. A performance style influenced by local traditions and cultural elements.

23. dṛṣṭa (दृष्ट)
    
    (drisht-uh)

    v (past participle). Seen, witnessed.

24. dhruvapada (ध्रुवपद)

    
    (dhroo-vuh-puh-duh)
    n. Fixed song. A type of song used in performances to mark transitions or emphasize emotions, often repeated at key moments.

25. gaura (गौर)
    
    (gow-ruh)

    adj. Reddish-yellow/pale-red. Used both as a character-colour designation (for several human regions and for “ordinary happy people”) and as a derivative make-up colour (red mixed with yellow).

26. granthima (ग्रन्थिम)
    
    (gruhn-thi-muh)

    adj. Knotted garland type, tied at intervals into deliberate knots for textural rhythm.

27. harit (हरित)
    
    (huh-rit)

    n. Green. A derivative make-up colour (yellow mixed with blue), used for characters tied to nature or certain non-human beings.

28. kaishiki (कैशिकी)

    
    (kai-shee-kee)
    n. A graceful and delicate style of performance. Often associated with feminine beauty and the representation of tender emotions through fluid movements.

29. karana (करण)

    
    (kuh-ruh-nuh)
    n. A unit of movement. Described in the Natyashastra as the basic building block of dance, involving synchronized actions of limbs and body.

30. karandava (कारण्डव)
    
    (kaa-ruhn-duh-vuh)

    n. Bluish-white. A derivative make-up colour (white mixed with blue) for characters who should read as celestial but softer than pure blue.

31. kashaya (काषाय)
    
    (kuh-shaa-yuh)

    n. 1. Dark reddish-ochre. As a derivative make-up colour, blue mixed with red. 2. As a costume term, the dyed cloth worn by wandering ascetics, sages, and Buddhist monks — a usage that still describes renunciate robes across South and Southeast Asia today.

32. lokadharmi (लोकधर्मी)
    
    (lo-kuh-dhar-mee)

    n. Naturalistic acting. A style of acting that portrays characters and situations in a realistic manner.

33. malina (मलिन)
    
    (muh-li-nuh)

    adj. Soiled cloth. A defined costume class (not merely dull clothing) for lunatics, intoxicated characters, travelers, and the calamity-struck.

34. manasa (मनसा)
    
    (mun-uh-sah)

    n (instrumental case). By the mind, through thought.

35. mandi (मण्डी)

    
    (muhn-dee)
    n. A seated posture. A key position in Indian classical dance where the knees are bent and the body is grounded for balance and expression.
    

36. margi (मार्गी)

    
    (mahr-gee)
    n. Classical or traditional. Refers to a performance style that adheres to the strict principles of the Natyashastra.

37. mālā (माला)
    
    (maa-laa)

    n. Garland. Classified into five structural types in the Natyashastra: veṣṭita, vitata, saṃghātya, granthima, and pralambita.

38. mricchakatika (मृच्छकटिक)
    
    (mrich-chah-kah-ti-kuh)

    n. Clay Cart. A famous Sanskrit play by Shudraka.

39. mudra (मुद्रा)
    
    (mood-rah)

    n. Hand gesture. Symbolic postures of the hand used to convey meaning and emotion in Indian classical dance.

40. mukharāga (मुखराग)
    
    (moo-khuh-raa-guh)

    n. Facial colour tied to a character’s momentary emotional state (from a set of four: svābhāvika, prasanna, rakta, śyāma), distinct from varna vidhana, which fixes a character’s base body colour by nature and origin.

41. nata (नट)
    
    (nah–taa)

    n. Male performer. An actor in a theatrical performance.

42. nati (नाटी)
    
    (nah-tee)

    n. Female performer. An actress in a theatrical performance.

43. natya (नाट्य)
    
    (nah-tyuh)

    n. Drama, theatrical performance. The art of storytelling through acting, dance, music, and other elements.

44. nāṭyadharma (नाट्यधर्म)
    
    (naa-tyuh-dhuhr-muh)

    n. Theatrical convention. The principle that stylised, non-literal stage practice (e.g. changing costume while the painted body-colour stays the same) remains valid within performance logic, as opposed to literal realism.

45. natyadharmi (नाट्यधर्मी)
    
    (nah-tyuh-dhar-mee)

    n. Stylistic acting. A stylized form of acting specific to Indian theatrical traditions.

46. natyaveda (नाट्यवेद)

    
    (nah-tyuh-veh-duh)
    n. The fifth Veda. An ancient scripture believed to combine aspects of the four primary Vedas into a unified art form for entertainment and moral instruction.

47. nepathya (नेपथ्य)

    (nay-puh-thyuh)
    n. The domain of costume and make-up in classical performance. Governed by āhāryābhinaya; organised by Bharata into four categories – pusta, alaṃkāra, aṅgaracanā, and sañjīva.

48. nritta (नृत्त)
    
    (nrit-tah)

    n. Pure dance. Abstract dance that focuses on rhythm and technique without a narrative element.

49. nritya (नृत्य)
    
    (nrit-yah)

    n. Expressive dance. Dance that tells a story or conveys emotions through movement.

50. padma (पद्म)
    
    (puhd-muh)

    n. Lotus. A derivative make-up colour (white mixed with red), a warm rosy tone associated with beauty and youth.

51. pandu (पाण्डु)
    
    (paan-doo)

    n. Yellowish-white. A derivative make-up colour (white mixed with yellow) for characters marked by refinement.

52. pindibandha (पिण्डिबन्ध)

    
    (pin-dee-buhn-dhuh)
    n. Group formations in dance. Represented in Indian classical dance as intricate arrangements of performers depicting symbolic or narrative ideas.

53. prakṣepya (प्रक्षेप्य)
    
    (pruh-kshayp-yuh)

    adj. Worn/placed-type ornament, slipped onto the body without piercing or tying (e.g. the nūpura anklet; Bharata also places garments in this category).

54. pralambita (प्रलम्बित)
    
    (pruh-lum-bi-tuh)

    adj. Hung-down garland type, draping from the point of attachment to near the feet (e.g. the long vaijayanti-mala).

55. prarambhika (प्रारम्भिक)

    
    (prah-ruhm-bhi-kuh)
    n. Preliminary elements. Ritualistic and preparatory acts performed before the main performance, as outlined in the Natyashastra.

56. pratishira (प्रतिशिर)
    
    (pruh-ti-shi-ruh)

    n. Mask. Bharata specifies masks should vary by a character’s habitation, birth, and age, same as costume and beard.

57. prayoktavya (प्रयोक्तव्य)
    
    (pruh-yok-tuh-vyuh)

    adj. To be used, capable of being employed.

58. pusta (पुष्ट)

    
    (poosh-tuh)
    n. Constructed stage properties (props, scenery, vehicles, weapons) built from mat, cloth, skin, or mechanical devices. One of the four categories of nepathya.

59. rasa (रस)
    
    (rah-sah)

    n. Essence, emotional flavor. The aesthetic experience evoked in the audience by a performance.

60. recaka (रेचक)

    
    (ray-chuh-kuh)
    n. Nuances of movement. Subtle yet expressive transitions and modulations in dance to emphasize grace and fluidity.

61. romasha (रोमश)
    
    (roh-muh-shuh)

    adj. Hairy, shaggy; the bushy stage beard for Vedic seers, long-vowed ascetics, and vengeance-driven characters.

62. saṃghātya (सङ्घात्य)
    
    (sung-ghaat-yuh)

    adj. Grouped garland type: flowers or leaves bunched densely rather than strung at intervals.

63. samprayojaka (सम्प्रयोजक)
    
    (sum-pruh-yoh-juh-kuh)

    n. Means, instrument.

64. samyuta hastas (संयुक्त हस्त)

    
    (sum-yoo-tuh huh-stuhs)
    n. Double-hand gestures. A set of 24 symbolic gestures described in the Natyashastra for storytelling and expression.

65. sandhima (सन्धिम)
    
    (sun-dhee-muh)

    n. A sub-type of pusta: objects assembled from joined materials like cloth or animal skin (e.g. a cloth-covered mountain or chariot frame).

66. sañjīva (सञ्जीव)
    
    (sun-jee-vuh)

    n. The use of living creatures (trained animals, birds) as part of theatrical presentation. The fourth and least-discussed category of nepathya.

67. sattvika abhinaya (सात्त्विक अभिनय)

    
    (saat-vih-kuh uh-bhee-nui-uh)
    n. Spiritual expression. The portrayal of deep emotional states through involuntary physical reactions, such as trembling, tears, or blushing.

68. shastra (शास्त्र)
    
    (shaas-truh)

    n. Treatise, science, scripture. A body of knowledge written in a specific format.

69. shuddha (शुद्ध)
    
    (shoo-dhuh)

    adj. Clean/pure; the white stage beard, assigned to religious mendicants, ministers, chaplains, and those under ritual restraint.

70. shyama (श्याम)
    
    (shyaa-muh)

    adj. Black; the stage beard for characters remorseful over a broken vow, ascetics, or the misfortune-struck. (Note: distinct from śyāma as a facial-colour term under mukharāga.)

71. ślākṣṇa (स्लक्ष्ण)
    
    (shluk-shna)

    adj. Gentle, smooth, graceful.

72. smashru (श्मश्रु)
    
    (shmuhsh-roo)

    n. The stage beard, one component of aharyabhinaya. Bharata names four types: shuddha, shyama, vichitra, romasha.

73. śṛṅgāra (शृङ्गार)
    
    (shriing-gaar)

    n. Love, erotic sentiment. One of the nine rasas (emotions) in Natya Shastra.

74. sthayi bhava (स्थायी भाव)
    
    (sthah-yee bhah-vuh)

    n. Permanent emotion. The underlying emotional state that remains consistent throughout a performance.

75. sutradhara (सूत्रधार)
    
    (soo-truh-dhar-ah)

    n. Director, stage manager. The person responsible for overseeing all aspects of a theatrical production.

76. sūcā (सूचा)

    
    (sū-cā)
    n. Indicative representation. In the Natyashastra, sūcā refers to a mode of expression where the meaning of a sentence or idea is first indicated through sattva (inner feeling) and gestures (aṅga/āṅgika), and only then articulated verbally. It is part of harmonious abhinaya where the body and mind lead speech in conveying sense and emotion.

77. tala (ताल)
    
    (tah-lah)

    n. Rhythm. The underlying rhythmic structure of a musical piece or dance performance.

78. tāmra (ताम्र)
    
    (taam-ruh)

    adj. Copper-red. A make-up colour Bharata associates with characters marked by anger.

79. vachika (वाचिक)
    
    (vah-chi-kuh)

    n. Vocal expression. The use of voice, speech, and sound to convey meaning and emotion in performance.

80. varna vidhana (वर्ण विधान)
    
    (vuhr-nuh vi-dhaa-nuh)

    n. The “rule of colours”, the system by which the Natyashastra assigns body colour to a character by category (deity, demigod, human), then narrows by sub-category (region, group, caste, conduct). Sits within aṅgaracanā.

81. veṣṭita (वेष्टित)
    
    (vesh-ti-tuh)

    adj. Encircling-type garland, wound around the body or a limb to suggest containment and authority.

82. vibhū (विभुः)
    
    (vib-hoo)

    adj. Radiant, powerful, glorious.

83. vichitra (विचित्र)
    
    (vi-chit-ruh)

    adj. Varied, elaborately worked; the smartly styled stage beard for celestial beings, kings, princes, and confident young men.

84. vidushaka (विदूषक)
    
    (vi-doo-shah-kah)

    n. Jester, comic character. A comedic character who provides humor and social commentary in a play.

85. vitata (वितत)
    
    (vi-tuh-tuh)

    adj. Spread-up garland type, displayed outward from a central point in a fan-like or radiant arrangement.

86. viskambhaka (विष्कम्भक)
    
    (vish-kum-bhuh-kah)

    n. Interlude. A short performance inserted between acts of a play, often for comic relief.

87. vismaya (विस्मय)
    
    (vis-muh-yuh)

    n. Wonder, amazement.

88. vyabhichari bhava (व्यभिचारी भाव)
    
    (vyuh-bhee-chah-ree bhah-vuh)

    n. Temporary emotion. A fleeting emotional state that arises and subsides within a performance.

89. vyājima (व्याजिम)
    
    (vyaa-jee-muh)

    n. A sub-type of pusta: mechanically operated stage devices that simulate reality, such as a moving puppet or automaton.