Abstract
This paper deals with the tradition and identity of physical expression(${\bar{a}}{\dot{n}}gika$ abhinaya) system in Indian traditional theatre and dance. The ${\bar{a}}{\dot{n}}gika$ abhinaya of Indian dance and theatre has been stylized through long terms and thereby defines their identity and peculiarity by its highly stylized expression techniques while following dramatic way($n{\bar{a}}tya$-dharmi). The ${\bar{a}}{\dot{n}}gika$ abhinaya is said to had been derived from the ritualistic practice of ancient Vedic period(B.C. 15th-B.C. 5th c.), which is most clearly exemplified in hand gesture(hasta mudra). In $N{\bar{a}}tya$ ${\acute{S}}astra$, ${\bar{a}}{\dot{n}}gika$ abhinaya is explained in detail. It is classified broadly into facial expression(mukhaja abhinaya), gesture expression(śārīra abhinaya), movement expression($cest{\bar{a}}krita$ abhinaya). Further, $N{\bar{a}}tya$ ${\acute{S}}astra$ divides their various usages by parts which include head, glance, eyes, nose, eyelid, cheek, lower lip, chin, mouth, hand, chest, waist, belly, hip. thigh, claf, foot. Besides, it explains diverse ways of foot movement($c{\bar{a}}ri$), standing poses(sthana), gait(gati) and their combined movements(mandala). Many forms of Indian traditional theatre and dance basically follows the rule of ${\bar{a}}{\dot{n}}gika$ abhinaya proposed in $N{\bar{a}}tya$ ${\acute{S}}astra$, which identifies their unique characteristics.
이 글은 현전하는 인도 최초의 연극론서인 "나띠야 샤스뜨라"의 규정을 중심으로 인도의 전통연극과 무용에 계승되어 온 신체표현기법인 앙기까 아비나야의 전통성과 정체성을 고찰한다. 이를 위해 마르기와 데시, 나띠야다르미와 로까다르미의 양식구분 개념, 아비나야의 분류, 앙기까 아비나야의 의의와 중요성, 기원과 형성과정, 범주와 종류, 계통성과 지역적 차이를 살펴본다.