Krishna in Bharatanatyam: Textual, Philosophical and Aesthetic Foundations of Embodied Characterisation: A Theoretical and Interdisciplinary Study
Abstract: Krishna has a place in the world of Indian classical dance. In Bharatanatyam Krishna is shown in forms: as a child, as a cowherd, as a lover, as a friend, as a protector, as a teacher and as a divine being. Because of these roles the dancer must move in very different emotional, relational and physical ways. This article looks at the texts, ideas and artistic rules that shape how Krishna is made real in Bharatanatyam. It brings together ideas from the N??ya??stra, Abhinaya Darpana, the Mah?bh?rata, Bhagavad G?t?, Bh?gavata Pur??a and G?ta Govinda. It shows how each of these sources gives stories and artistic guidelines for how Krishna is performed. The article says that Krishna is not a fixed character that can be shown with a set of fixed hand signs. Instead Krishna?s stage identity comes from the mix of story, rasa, bhava, abhinaya, music, movement, relationships and the dancer?s intention. The article puts forward the idea of " portrayal" as a helpful way to study how the written Krishna becomes the lived Krishna on stage. The study is mostly, about ideas and interpretation. It does not provide audience or interview data. It gives a base for later practice-based and repertoire-specific work.
Keywords: Krishna; Bharatanatyam; kinaesthetic portrayal; abhinaya; rasa; bhava; G?ta Govinda; N??ya??stra; embodied performance
How to Cite?: Reshma Rajeev, "Krishna in Bharatanatyam: Textual, Philosophical and Aesthetic Foundations of Embodied Characterisation: A Theoretical and Interdisciplinary Study", Volume 15 Issue 10, October 2026, International Journal of Science and Research (IJSR), Pages: 102-104, https://www.ijsr.net/getabstract.php?paperid=SR26930230656, DOI: https://dx.doi.org/10.21275/SR26930230656