Nritta, Nṛtta: 11 definitions
Nritta means something in Hinduism, Sanskrit. If you want to know the exact meaning, history, etymology or English translation of this term then check out the descriptions on this page. Add your comment or reference to a book if you want to contribute to this summary article.
The Sanskrit term Nṛtta can be transliterated into English as Nrtta or Nritta, using the IAST transliteration scheme (?).
Natyashastra (theatrics and dramaturgy)Source: Wisdom Library: Nāṭya-śāstra
Nṛtta (नृत्त, “dance”) refers to ‘that which is made up of karaṇas and aṅgahāras’. It is one of the three aspects of abhinaya (“histrionic representation”), according to the Nāṭyaśāstra chapter 8. The term is used throughout nāṭyaśāstra literature.Source: archive.org: The mirror of gesture (abhinaya-darpana)
Nṛtta is that form of dance which is void of flavour (rasa) and mood (bhāva).
Nṛtta and Nṛtya constitute as a separate art. The ordinary performance of a nācnī (nāc/nācanī?) (nautch-girl, bayadere) consists of alternate nṛtya , the former consisting of set dances with some special subject, and accompanied by varied gesture, the latter merely moving to and fro, marking time with the feet, and so forth. Nṛtta is here dismissed with a merely negative definition, as the object of the Abhinaya Darpaṇa is to explain how to express by gesture definite themes.
According to Dhanaṃjaya (“Daśarūpa” I, 14) speaking of Nṛtya and Nṛtta,
Source: Indian Classical Dances: Techniques of classical dances
“the former, gesture-with-meaning is high (mārga), the latter popular (deśī).”
Nritta the rhythmic element is composed of only pure dance and with feature striking and elegant poses, but have no expressional meaning and symbolism. There is only physical creativity but no story, theme or narrative. Even the mudras become just as a piece of decoration.Source: Shodhganga: The significance of the mūla-beras (natya)
Nṛtta refers to “pure dance” as used within the classical tradition of Indian dance and performance, also known as Bharatanatyam.—In Bharatanatyam, the use of nṛtta is found in basic movements and a few dance pieces; nṛtya is seen in expressional dancing pieces and nāṭya is found in the dance-dramas of classical dances. According to the Abhinayadarpaṇa, verse 15, “that (dance) which does not relate to any psychological state (bhāva) is called nṛtta”.
Nṛtta is that form of dance which does not have flavour (rasa) and mood (bhāva). Even the gestures, rhythm and limb movements do not convey any specific mood, meaning or message. It is a form of pure movement in dance, which does not express any mood or sentiment. It is full of poses, stances, leaps, turns, twists and intricate foot work. It is full of rhythm and motion that create joy and ecstasy in the dancer as well as the spectator. The expression of emotion in nṛtta is negligible. Nṛtta is movement in rhythm with the feet and the hands. In Bharatanatyam, the techniques of the aḍavus and the rhythmic dance patterns that are included in alārippu, jatisvaram, varnam, kīrtanam, and tillāna come under the category of nṛtta or pure dance.
Nṛtta is of three kinds: viṣama, vikaṭa and laghu. Viṣama consists of many acrobatic feats like rope dancing, and intricate foot work. Vikaṭa consists of movements of a person in dress that strikes awe and terror in the hearts of the viewers. Laghu consists of graceful upward tripping and movements.
Natyashastra (नाट्यशास्त्र, nāṭyaśāstra) refers to both the ancient Indian tradition (śāstra) of performing arts, (nāṭya, e.g., theatrics, drama, dance, music), as well as the name of a Sanskrit work dealing with these subjects. It also teaches the rules for composing dramatic plays (nataka) and poetic works (kavya).
Shaivism (Shaiva philosophy)Source: Shodhganga: Iconographical representations of Śiva
1) Nṛtta (नृत्त) or Nṛttamūrti refers to one of the twenty-three forms (mūrti) of Śiva mentioned in the Pūrvakāmikāgama (pratimālakṣaṇavidhi-paṭala): first and foremost among the Mūlāgama. The forms of Śiva (eg., Nṛtta) are established through a process known as Sādākhya, described as a five-fold process of creation.
2) Nṛtta is also listed among the eighteen forms (mūrti) of Śiva mentioned in the Kāraṇāgama (pratimālakṣaṇavidhi-paṭala): the fourth among the Siddhāntaśaivāgamas.
3) Nṛtta is also listed among the twelve forms (mūrti) of Śiva mentioned in the Suprabhedāgama: the tenth among the Siddhāntaśaivāgamas.
4) Nṛtta is also listed among the eighteen forms (mūrti) of Śiva mentioned in the Śilparatna (twenty-second adhyāya): a technical treatise by Śrīkumāra on Śilpaśāstra.Source: Shodhganga: Temple management in the Āgamas
Nṛtta (नृत्त) or Śuddhanṛtta refers to “Saukhya karma” (classical dance) and represents one of the various upacāras (offerings), in pūjā (ritual worship), as defined in the Śaivāgamas.—Pūjā consists of offering hospitality, in the form of water to wash the feet, to drink, water for ablutions, offering a bath, new clothes, fragrant unguents, fragrant flowers and ornaments, food and so on. Each step in the pūjā process is called “saṃskāra” and each offering is called “upacāra” [viz., Nṛtta].
Shaiva (शैव, śaiva) or Shaivism (śaivism) represents a tradition of Hinduism worshiping Shiva as the supreme being. Closely related to Shaktism, Shaiva literature includes a range of scriptures, including Tantras, while the root of this tradition may be traced back to the ancient Vedas.
General definition (in Hinduism)Source: Academia.edu: Some Pearls from the Fourth Chapter of Abhinavabhāratī Table of Contents
Nṛtta (नृत्त) is nothing but dance made up of karaṇas and aṅgahāras. Nṛtta employs all the aṅgas and upāṅgas.
Languages of India and abroad
Sanskrit dictionarySource: DDSA: The practical Sanskrit-English dictionary
Nṛtta (नृत्त).—Dancing, acting, a dance, pantomime, gesticulation; नृत्तादस्याः स्थितमतितरां कान्तम् (nṛttādasyāḥ sthitamatitarāṃ kāntam) M.2.7; नृत्यं मयूरा विजहुः (nṛtyaṃ mayūrā vijahuḥ) R.14.69; Me.34,36; R.3.19.
Derivable forms: nṛttam (नृत्तम्).
See also (synonyms): nṛtya.Source: Cologne Digital Sanskrit Dictionaries: Shabda-Sagara Sanskrit-English Dictionary
(-ttaṃ) Dancing. E. nṛt to dance, aff. kta.Source: Cologne Digital Sanskrit Dictionaries: Cappeller Sanskrit-English Dictionary
Nṛtta (नृत्त).—[neuter] dance.Source: Cologne Digital Sanskrit Dictionaries: Monier-Williams Sanskrit-English Dictionary
Nṛtta (नृत्त):—[from nṛt] n. dancing, acting, gesticulation, [Atharva-veda; Śatapatha-brāhmaṇa]; etc.
Sanskrit, also spelled संस्कृतम् (saṃskṛtam), is an ancient language of India commonly seen as the grandmother of the Indo-European language family (even English!). Closely allied with Prakrit and Pali, Sanskrit is more exhaustive in both grammar and terms and has the most extensive collection of literature in the world, greatly surpassing its sister-languages Greek and Latin.
See also (Relevant definitions)
Full-text (+22): Nrittamaya, Nrittamurti, Nritya, Nrit, Nrittaprayoga, Ninrittavat, Nrittajna, Pranrittavat, Nrittahasta, Laganritta, Ninritta, Sampranritta, Samgitanrittaratnakara, Pranrityavat, Pranritya, Nrittashala, Abhyantaranritta, Nrittasthana, Pranritta, Nrittapriya.
Search found 7 books and stories containing Nritta, Nṛtta, Nrtta; (plurals include: Nrittas, Nṛttas, Nrttas). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
The Mirror of Gesture (abhinaya-darpana) (by Ananda Coomaraswamy)
The Religion and Philosophy of Tevaram (Thevaram) (by M. A. Dorai Rangaswamy)
Chapter 4.3 - (d) Technical terms used by Arurar in relation to Dance and Music < [Volume 2 - Nampi Arurar and Mythology]
Chapter 4.6 - (m) Symbology of Fire < [Volume 2 - Nampi Arurar and Mythology]
Chapter 4.6 - (e) Symbology of Malu (the axe) < [Volume 2 - Nampi Arurar and Mythology]
Later Chola Temples (by S. R. Balasubrahmanyam)
Temples in Chidambaram < [Chapter II - Temples of Kulottunga I’s Time]
Temples in Kugaiyur < [Chapter XII - Temples of Kulottunga III’s Time]
Temples in Arakandanallur < [Chapter II - Temples of Kulottunga I’s Time]
Middle Chola Temples (by S. R. Balasubrahmanyam)
The Natyashastra (by Bharata-muni)
Part 2 - The Ancient Indian Theory and Practice of Music < [Introduction, Part 2]
Early Chola Temples (by S. R. Balasubrahmanyam)