From Sthāna to Samādhi: Reframing Nṛtta in the Nāṭyaśāstra through Yogic and Tantric Frameworks, with Extensions to South-east Asian Dance Traditions
This study proposes that there exists a deeper structural affinity between performance practice and philosophical inquiry than is commonly acknowledged. Grounded in the foundational insights of Piyal Bhattacharya on the metaphysics of embodiment in the Nāṭyaśāstra, this paper builds upon his framework by drawing upon philosophical systems such as Ashtanga Yoga and Kashmir Shaivism. More specifically, it argues that the process of nṛtta may be understood as analogous to the yogic or tantric progression toward states such as Samprajñāta samādhi. Within this mapping, sthāna (along with sthiti) corresponds to dhāraṇā (focused concentration), karaṇa to dhyāna (meditative absorption), and aṅgahāra to samādhi (complete integration). In this context, the paper further argues that the performer employs sthānas as an initial step toward depersonalization—shifting from individual identity toward a structured, archetypal presence. This transformation is not merely aesthetic but contemplative, requiring both technical precision and a deeply internalized state of awareness. Through this lens, Abhinavagupta’s engagement with the Nāṭyaśāstra can be seen as something that recognizes performance as a valid and potent pathway toward higher states of consciousness.