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Tuesday 12 May 2015

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Sexy Mallu Aunties Biography
Anchal Sabharwal (born 29 August 1986) is an Indian film actress and model, who has appeared in Hindi television series and regional feature films.

Contents [hide]
1 Career
2 Filmography
2.1 Television
3 References
4 External links
Career[edit]
Anchal first appeared in many TV commercials and then in few Hindi television series. Her first film was in Telugu, Masth.[2] Her first Hindi film was Rupali Guha's Aamras.[3] She made her debut in Kannda in 2011 and played a supporting role in Kempe Gowda. She was first supposed to play the lead role in the film.[4] She replaced Mugdha Chaphekar as Aarti Jhaveri in the sitcom Sajan Re Jhoot Mat Bolo.[5]

Filmography[edit]
Film
Year Film Role Language Notes
2009 Masth Anupama Telugu
2009 Aamras Sanya Balsara Hindi
2010 Puthumukhangal Nikitha Charan Malayalam
2011 The Train Laya Malayalam
2011 Kodipunju Nandini Telugu
Television[edit]
Year Show Role Channel
2006-2008 Aek Chabhi Hai Padoss Mein Zoya Ali STAR Plus
2009 Bhaskar Bharti Payal Mehra Sony Entertainment Television
2011-2012 Sajan Re Jhoot Mat Bolo Aarti Jhaveri SAB TV
2011 Saas Bina Sasural Damini Sony Entertainment Television
2013 Welcome - Baazi Mehmaan-Nawaazi ki Herself Life OK
2014 Uttaran Fida Colors
2014 Iss Pyaar Ko Kya Naam Doon?...Ek Baar Phir Mansi STAR Plus
References[edit]
Jump up ^ "When I experienced a scene straight out of Jab We Met!". Retrieved 26 May 2012.
Jump up ^ "Masth Review". Retrieved 26 May 2012.
Jump up ^ "Aamras: The Sweet Taste of Friendship (2009)". Retrieved 26 May 2012.
Jump up ^ "Raagini replaces Aanchal Sabharwal". Retrieved 26 May 2012.
Jump up ^ "Anchal Sabarwal replaces Mugdha in Sajan Re Jhoot Mat Bolo". Retrieved 26 May 2012.
External links[edit]
Anchal Sabharwal at the Internet Movie Database
Abhinaya is a concept in Indian dance and drama derived from Bharata's Natya Shastra. Although now, the word has come to mean 'the art of expression', etymologically it derives from Sanskrit abhi- 'towards' + nii- 'leading/guide', so literally it means a 'leading towards' (leading the audience towards a sentiment, a rasa)

Aside from its clear impact on dramatic tradition, it is used as an integral part of all the Indian classical dance styles, which all feature some kind of mimetic aspect to certain compositions, for example in depictions of daily life or devotional pieces.

Contents [hide]
1 Lokadharmi and Natyadharmi Abhinaya
2 The Four Ingredients of Abhinaya
2.1 Āṅgika Abhinaya
2.2 Vāchika Abhinaya
2.3 Āhārya Abhinaya
2.4 Sāttvika Abhinaya
3 Notes
4 Further reading
5 See also
Lokadharmi and Natyadharmi Abhinaya[edit]

Dancer performing abhinaya
A principal division is that between natyadharmi abhinaya and lokadharmi abhinaya. The former is poetic and stylistic in nature, following a codified manner of presenting emotion and expression which pertains to the conventions of the stage, which appear to have greater 'artistry' by virtue of taking something from natural life and rendering it in a suitably stylised way. Lokadharmi abhinaya is the opposite: realistic and un-stylised, involving very natural expression and movement, as occurs in daily life. Often this is the more difficult as the possibilities for interpretation of an emotion or a line of poetry are endless. Abinaya originated from nature.

The Four Ingredients of Abhinaya[edit]
Abhinaya can further be divided into four categories, as set down by the Natya Shastra.[1]

Āṅgika Abhinaya[edit]
This relates to the movement of the body, and how the thing to be expressed is portrayed by movement of the anga or limbs, which include facial expressions. There are different schools of Abhinaya, with the expressions ranging from the grotesque to the understated, from the crude to the refined. Āngika abhinaya forms either Padartha abhinaya (when the artist delineates each word of the lyrics with gestures and expressions), or Vaakyartha abhinaya (where the dancer acts out an entire stanza or a sentence).

Vāchika Abhinaya[edit]

Guru Nātyācārya Māni Mādhava Chākyār performing Sāttvika Abhinaya (Sringāra Rasa)
This relates to how expression is carried out through speech. It is obviously therefore more overtly used in drama, but also in music: in how the singer expresses the emotion through his or her singing. Traces of Vāchika Abhinaya are preserved in Kuchipudi and Melattur style of Bharatanatyam where the dancers often mouth the words of the songs to support Padartha abhinaya. Kerala still has on stage art forms (Naatya) whicn have Vāchika Abhinaya as a dominant component - Koodiyattam, Nangyar Kooothu, Ottan, Seetangan & Parayan - the tree types of Thullal, Mudiyettu are the most popular ones.

Āhārya Abhinaya[edit]
Another means of representation of the play is indeed the costumes and physical decorations of the actors and the theatre. In dramas, and dance dramas, costume and making are distinguished by the sex, race, sect or class or the social position of the characters, giving the production of the presentation some semblance of reality. The decorations of the stage theatre including lights and accessories are related to the scene of the depiction in which enhances the rasa between the audience and artists also comes under this category.

Aharya Abhinaya is very prominent in kathakali where there are totally different dress and makeup for 4 different characters. E.g.: The good characters have packha vesham (green makeup) while the demons are evil characters have kati vesham in which the nose is painted red. But in solo dance performances, aharya abhinaya is as a convention.

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