Abhinaya is one of the most important concepts in Bharata’s *Natyashastra*, because it provides the practical means through which an actor communicates the meaning, emotions, ideas, and dramatic situations of a performance to the audience. The Sanskrit term “Abhinaya” is derived from the root “nī” with the prefix “abhi,” meaning “to carry towards” or “to lead towards.” Thus, Abhinaya may be understood as the process by which the actor carries the meaning of the dramatic action towards the spectators. In Bharata’s theory of drama, acting is not merely the imitation of external behaviour; it is a carefully organized artistic process through which the emotional and intellectual content of a dramatic work becomes perceptible to the audience. The *Natyashastra* considers drama a comprehensive art combining speech, movement, music, costume, gesture, emotion, and spectacle. Within this framework, Abhinaya serves as the principal medium of communication between the performer and the spectator. Bharata identifies four major types of Abhinaya: Angika, Vachika, Aharya, and Sattvika. These four forms operate together to create a complete theatrical performance. Angika concerns bodily expression, Vachika concerns speech and verbal expression, Aharya concerns costume and external appearance, while Sattvika concerns the internal emotional states manifested by the performer. Together they enable the actor to represent characters, situations, actions, and emotions in a convincing and aesthetically meaningful manner. Angika Abhinaya refers to expression through the body. It includes movements of the major limbs, minor limbs, facial features, eyes, eyebrows, hands, head, feet, and other parts of the body. Bharata gives considerable importance to bodily movement because physical gestures can communicate meanings even without spoken words. In classical Indian theatre, the actor's body becomes an expressive instrument through which actions and emotions are represented. Angika Abhinaya includes movements of the head, eyes, eyebrows, cheeks, lips, hands, arms, torso, legs, and feet. Facial expressions are particularly significant. Movements of the eyes can indicate love, anger, fear, wonder, sorrow, suspicion, or compassion. Similarly, the movement of eyebrows, lips, cheeks, and other facial parts can intensify the expression