A behrupiya or bahrupiya is an impressionist in the traditional performing arts of India, Pakistan, Nepal and Bangladesh. Once popular and widespread, the art form is now in decline with most practitioners living in poverty. It was once common for behrupiyas to make a dramatic entrance at wedding or other festivities dressed as a policeman, priest, or other figure and create a commotion. The social norm surrounding these appearances was that the behrupiya usually collected no money if detected as an impersonator. However, if he was able to successfully convince his audience of his fake identity, he would then reveal it and be awarded a baksheesh for having entertained the group. Sometimes, behrupiyas are also simply called maskharas or bhands, who are the traditional actors, dancers, storytellers and entertainers.

Tandava has vigorous, brisk movements. Performed with joy, the dance is called Ananda Tandava. Performed in a violent mood, the dance is called Rudra Tandava. In the Hindu texts, at least seven types of Tandava are found: Ananda Tandava, Tripura Tandava, Sandhya Tandava, Samhara Tandava, Kali (Kalika) Tandava, Uma Tandava and Gauri Tandava. However, some people believe that there are 16 types of Tandava.
(Manohar Laxman Varadpande)

While at the macro level many of the Natya Shastra statements apply to almost all the arts traditions, at the micro level there are significant differences. Kathakali practitioners came to know of Natya Shastra theories for their histrionics when Pattikkamtodi Ravunni Menon (1880-1948) at 27, the first trainer of Kerala Kalamandalam, went to scholar Kotungallur Kunchunni Tampuran (1858-1926) to learn the intricacies of the Natya Shastra from the perspective of Kathakali’s natya.
(‘Rigorous training regime’ by KK Gopalakrishnan, The Hindu, Jan 24, 2014)

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