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communication, can be presented in two different styles, viz. Natyadharmi and L艒kadharmi.17 The modus operandi of theatrical representation is two-fold: naturalistic or realistic practice and stylistic (conventionally prescribed) practice. ('啶侧�嬥�曕ぇ啶班�嵿ぎ啶距ざ啷嵿ぐ啶�啶� 啶侧�嬥�曕ぇ啶班�嵿ぎ啷� 啶ㄠ�熰じ啶�啶�啶�啶距い啷嵿ぐ啶班�傕お啶� 啶ㄠぞ啶熰�嵿く啶оぐ啷嵿ぎ啷� 啷� [lokadharm膩艣raya岣� lokadharm墨 na峁璦samayam膩trar奴p膩 n膩峁瓂adharm墨 | ] ' ) L艒kadharmi is the practice based on the natural state of people and materials around. As Bharata says, drama is the representation of conduct, activities and mental states of the three worlds human, divine and demonic. 18 N膩峁瓂adharmi is of the nature of merely the conventional stage practice. The first type, L艒kadharmi is of two kinds [3 af == 啶�啶距す啷嵿く啶� 啶歖 [b膩hy膩 ca] ] 'that indicative of the inner states and that indicative of external matters'. The first kind consists of actions or expressions which directly signify the mental status and which therefore are the objective signs (anubh膩vas) of those conditions : ' 啶むい啷嵿ぐ 啶嗋え啷嵿い啶班ぞ 啶氞た啶む�嵿い啶掂�冟い啷嵿い啷嵿く啶班�嵿お啶曕い啷嵿さ啷囙�� 啶呧え啷佮き啶距さ啶膏�嵿�� ( [tatra 膩ntar膩 cittav峁泃tyarpakatvena anubh膩vasya (] f). For example, in an arrogant reference to oneself, one raises the hand to the level of the forehead in Pat膩kamudr膩. The second kind (b膩hya): When a lotus is represented by the Padmak艒艣amudr膩. N膩峁瓂adharmi, too is of two kinds (i) that which is meant solely 17. 啶呧き啶苦え啶�啶膏�嵿く 啶︵�嵿さ啶苦さ啶苦ぇ啶� 啶囙い啶苦�曕ぐ啷嵿い啶掂�嵿く啶むぞ 啶侧�嬥�曕ぇ啶班�嵿ぎ啷� 啶ㄠぞ啶熰�嵿く啶оぐ啷嵿ぎ啷� 啶� 啷� ( [abhinayasya dvividh膩 itikartavyat膩 lokadharm墨 n膩峁瓂adharm墨 ca | ( ] Abhinavabh膩rati ) 18. 啶む�嵿ぐ啷堗げ啷嬥�曕�嵿く啶膏�嵿く啶距じ啷嵿く 啶膏ぐ啷嵿さ啶膏�嵿�� 啶ㄠぞ啶熰�嵿く啶� 啶�啶距さ啶距え啷佮�曕��啶班�嵿い啶ㄠぎ啷� | ( [trailokyasy膩sya sarvasya n膩峁瓂a峁� bh膩v膩nuk墨rtanam | (] NSI108) 67