Estimated reading time: 7 minutes
Thirty-Six Glances adds an extraordinary depth of understanding about the human experience as per NatyaShastra. One of its fascinating aspects is the description of thirty-six types of glances (dṛṣṭi). They are used to convey a range of emotions, sentiments, and states in theatrical performances. These glances are gateways to expressing nuanced human emotions, enhancing storytelling, and captivating audiences.
In this article we will explore these glances expressing Sentiments, Dominant States, and Transitory States.
The details on how to practice and express these glances with examples will follow in the next article.
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Glances Expressing the Sentiments (Rasa)
The Sentiments, or Rasa, are the essence of any dramatic performance. Each glance under this category resonates with a specific emotional flavor, enhancing its impact:
- Kāntā – The glance of love and affection.
- Bhayānakā – The glance of fear and terror.
- Hāsyā – The playful glance of humor and mirth.
- Karuṇā – The compassionate glance, reflecting sorrow.
- Adbhutā – The wide-eyed glance of wonder and amazement.
- Raudrī – The fierce glance of anger and ferocity.
- Vīrā – The steady glance of heroism and courage.
- Bībhatsā – The disgusted glance, expressing aversion.
These glances bring the core Rasas to life, making the performer a conduit for the audience to feel these universal emotions.
कान्ता भयानका हास्या करुणा चाद्भुता तथा ।
रौद्रो वीरा च बीभत्सा विज्ञेया रसदृष्टयः ॥ ४०॥
kāntā bhayānakā hāsyā karuṇā cādbhutā tathā |
raudro vīrā ca bībhatsā vijñeyā rasadṛṣṭayaḥ || 40||
Meaning:
Graceful (erotic), fearful, humorous, compassionate, wondrous, furious, heroic, and disgustful are to be understood as the classifications of aesthetic emotions (rasas).
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Glances in the Dominant States (Sthāyi Bhāva)
The Dominant States form the foundation of the narrative. The glances associated with them are powerful tools for portraying deeper, enduring emotions:
- Snigdhā – The tender, affectionate glance.
- Hṛṣṭā – The glance of joy and exhilaration.
- Dīnā – The pitiful glance of despair.
- Kruddhā – The fiery, enraged glance.
- Dṛptā – The proud and haughty glance.
- Bhayānvitā – The nervous, fearful glance.
- Jugupsitā – The glance of distaste or revulsion.
- Vismitā – The surprised, awestruck glance.
These glances anchor the narrative, giving weight and depth to the characters’ primary emotional arcs.
स्निग्धा हृष्टा च दीना च क्रुद्धा दृप्ता भयान्विता । जुगुप्सिता विस्मिता च स्थायिभावेषु दृष्टयः ॥ ४१॥ snigdhā hṛṣṭā ca dīnā ca kruddhā dṛptā bhayānvitā | jugupsitā vismitā ca sthāyibhāveṣu dṛṣṭayaḥ || 41|| Meaning: Affectionate, joyful, sorrowful, angry, proud, fearful, disgusted, and amazed are considered the classifications of the stable emotions (स्थायिभाव).
The स्थायिभाव (Sthāyi Bhāva) are the fundamental emotional states that persist within a character or individual. These are expressed through performance and gradually transform into the corresponding rasa, eliciting a specific aesthetic response in the audience.
Each स्थायिभाव is further enriched and intensified by supporting emotions (विभाव (Vibhava), अनुभाव (Anubhava), and संचारी भाव (Sancharibhava), which together form a complete artistic expression.
Glances for the Transitory States (Vyabhicāri Bhāva)
The Transitory States represent fleeting emotions and conditions, adding complexity and realism to a performance. With a detailed palette of twenty-four glances, the Nāṭyaśāstra enables performers to vividly portray subtle emotional shifts:
- Śūnyā – The vacant glance, reflecting emptiness.
- Malinā – The glance of gloom and sadness.
- Śrāntā – The weary, fatigued glance.
- Lajjānvitā – The shy, modest glance.
- Glānā – The glance of sickness or dejection.
- Śaṅkitā – The apprehensive glance of doubt.
- Viṣaṇṇā – The despondent, melancholic glance.
- Muktā – The free, relaxed glance.
- Kuñcitā – The crooked, suspicious glance.
- Abhitaptā – The glance of anguish or suffering.
- Jihmā – The evasive, sidelong glance.
- Lalitā – The delicate, graceful glance.
- Vitarkitā – The pondering, thoughtful glance.
- Ardhamukulā – The half-closed glance, suggesting drowsiness.
- Vibhrāntā – The bewildered, confused glance.
- Viplutā – The glance of distraction or derangement.
- Ākekarā – The one-sided glance, showing intrigue or slyness.
- Vikośā – The open, attentive glance.
- Trastā – The frightened, trembling glance.
- Madira – The intoxicated, languid glance.
These glances enrich the performance by capturing the transient nature of emotions, making characters multidimensional and relatable.
शून्या च मलिना चैव श्रान्ता लज्जान्विता तथा ।
ग्लाना च शङ्किता चैव विषण्णा मुकुला तथा ॥ ४२॥
śūnyā ca malinā caiva śrāntā lajjānvitā tathā |
glānā ca śaṅkitā caiva viṣaṇṇā mukulā tathā || 42||
Meaning:
Empty, sullied, tired, bashful, weak, apprehensive, dejected, and bud-like (contracted) are also the classifications (of expressions or states).
These states are part of the performative vocabulary in अभिनय (expression), particularly in सात्त्विक अभिनय (psychological expression) and आङ्गिक अभिनय (physical expression). They help in detailing specific emotional nuances that make the performance relatable and impactful.
कुञ्चिता चाभितप्ता च जिह्मा सललिता तथा ।
वितर्कितार्धमुकुला विभ्रान्ता विलुप्ता तथा ॥ ४३॥
kuñcitā cābhitaptā ca jihmā salalitā tathā |
vitarkitārdhamukulā vibhrāntā viluptā tathā || 43||
Meaning:
Curved, tormented, crooked, graceful, speculative, half-bud-like, bewildered, and vanished are also the classifications (of expressions or states).
आकेकरा विकोशा च त्रस्ता च मदिरा तथा ।
षट्त्रिंशद् दृष्टयो ह्येता तासु नाट्यं प्रतिष्ठितम् ॥ ४४॥
ākekarā vikośā ca trastā ca madirā tathā |
ṣaṭtriṃśad dṛṣṭayo hyetā tāsu nāṭyaṃ pratiṣṭhitam || 44||
Meaning:
Contracted, expanded, fearful, and intoxicating—these are the thirty-six glances upon which the art of drama is firmly established.
Frequently Asked Questions
A word for “glances” are “looks,” “gazes,” or “expressions,” depending on the context.
“Giving glances” means directing brief or intentional looks at someone or something. It is used often to communicate a feeling or intention without words.
A good dancer is expressive, technically skilled, and they convey emotions through precise movements and captivating energy.
“Danced gracefully” describes movement that is smooth, elegant, and seemingly effortless, leaving a lasting impression of beauty.
Eye expressions in dance include movements and glances that communicate emotions like love, anger, fear, or joy. They are rooted in styles like Kāntā, Bhayānakā, or Adbhutā, as outlined in the Nāṭyaśāstra.
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Conclusion
Eyes aren’t just windows to the soul—they’re storytellers in their own right. Mastering the thirty-six glances from the Nāṭyaśāstra is about learning ancient techniques. It is also about understanding how subtle shifts in expression can ignite powerful emotions in your audience.
A dancer who conveys heartbreak with a single tearful glance or whose fierce gaze makes the room hold its breath.
That’s the magic we’re talking about.
This isn’t easy. It takes practice. Precision. Awareness of the nuances that make a fleeting glance resonate long after the performance ends. Want to make your storytelling unforgettable? Start small. Pick one glance—maybe Karuṇā for compassion—and practice it in front of a mirror. Notice how your energy changes. Try it with an audience and watch how they respond.
Glances are the bridges between your art and your audience. Use them wisely, and you’ll elevate your craft to something extraordinary.
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NatyaShastra Glossary: Head over to the Natyashastra Glossary page to know the meaning behind Sanskrit terms used in the articles.
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Disclaimer: This Abhinaya practical guide is educational only, not professional advice. Consult a qualified expert for specific needs.
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