BRIEF STUDY OF

NATYASHASTRA
PAR306: :Aesthetics and Advanced Aspects of Indian Music

Dr Amandeep Singh Makkar, 27148

Date: 02-15-2022 Time: 10.00 am
02-21-2022 Time 10.00 am
 LEARNING OUTCOMES

• Knowledge of the musical treatise

‘Natyashastra’
 PREVIOUS UNDERSTANDING

• Share what you already know about

Natyashastra
 NATYASHASTRA

Writer •Bharat Muni

Language •Sanskrit
Time •200 BCE to 200 CE
Content •Dramatic Theory, Dance, Music
 NATYASHASTRA

Called • 5th Veda

Chapters • 36 (37/38 in some versions)

• 6000 (Some say they were originally

Verses
more than12000)

• Natya (act, represent)+

Meaning • Shastra (precept, rules, manual,
compendium, book or treatise)
 NATYASHASTRA CONTENTS

Chapter outer and spatial aspects, such

1-5 as the stage, the theatre building
• The text opens with the mythical genesis and history of drama,
mentions the role of different Hindu deities in various aspects of the
arts, and the recommended Puja (consecration ceremony) of a
stage for performance arts. The text describes the theory
of Tāṇḍava dance (Shiva), the theory of rasa, of bhāva, expression,
gestures, acting techniques, basic steps, standing postures
 NATYASHASTRA CONTENTS

theory of rasa, i.e. the crucial question as

Chapter 6-7 to how to evoke a mood

Chapter 8-13 the physical acting technique

• Stage instruments such as methods for holding accessories, weapons,
relative movement of actors and actresses, scene formulation, stage
zones, conventions and customs are included in chapters 10 to 13 of
the Natyashastra
 NATYASHASTRA CONTENTS

Chapter Deals with the verbal aspect,

14-19 such as speech and sound
•dedicated to plot and structure of underlying text behind the
performance art. These sections include the theory of Sanskrit
prosody, musical meters and the language of expression
•Chapter 17 presents the attributes of poetry and figures of
speech, while chapter 18 presents the art of speech and
delivery in the performance arts
 NATYASHASTRA CONTENTS

Chapter 20-21 the types and structure of drama

• presents its theory of plot, costumes, and make-up

Deals with the other aspects of acting, such as the

Chapter 22-26 costume and the make-up types
• chapter exclusively to women in performance arts, with chapter 24 on
female theater
 NATYASHASTRA CONTENTS

Chapter 28-33 focus on music

• The theory of music, techniques for singing, and music instruments are discussed

Aspects of the theatre troupe and the distribution of roles are

Chapter 34-36 then discussed
• final chapters describes the various types of dramatic characters, their roles and
need for team work, what constitutes an ideal troupe, closing out the text with its
comments of the importance of performance arts on culture

the focus returns to the very beginning, i.e. to the question of

End the divine origin of the art of the theatre
 THINK

• Which of the chapters describe rasa?

 THINK

• Which of the chapters are related to Music?

 NATYASHASTRA
• The general approach of the text is treat entertainment as
an effect, but not the primary goal of arts.
• The primary goal is to lift and transport the spectators,
unto the expression of ultimate reality and transcendent
values
 ABHINAYA
Body
Angika
movements

Vachika Words
Abhinaya 4 types
Ornaments
Aharya
and clothes

Satvik Gestures
 BHAVA

8 Sthaai Bhava
Rati
Hasya
Shoka
Krodha
Utsaha
Bhaya
Jagupsa
Vismaya
 RASA

Sthaai Bhava Rasa

Rati Shingaar
Hasya Hasya
Shoka Karuna
Krodha Raudra
Utsaha Veer
Bhaya Bhayanak
Jagupsa Bibhitsa
Vismaya Adbhuta
 BHAVA

Vibhava 2

Anubhava 4

Bhava
Sanchari or
33
Vyabhichari Bhava

Saatvik Bhava 8
 NATYASHASTRA AND DANCE

• 13 positions of the head

• 36 of the eyes
• 9 of the neck
• 37 of the hand
• 10 ten of the body
 NATYASHASTRA AND MUSIC
• Shadaj gives birth to the other six notes
• Principles of Consonance
• Shadaj-Shadaj Bhava
• Shadaj-Pancham Bhava
• Jatis
• Several aspects of Music Performance, Vocal, Instrumental
and orchestral compositions
 CLASSIFICATION OF INSTRUMENTS
• Natyashastra classifies instruments as
• “tata” – stringed (Vipanchi 9 stirngs, Chitra 7 strings,
Kachhapi and Ghoshaka veenas)
• “avanadha” – covered percussion (Mridang, Panav,
Durdar)
• “sushira” – hollow (flute like instruments) (Venu)
• “ghana” – rhythm supports like cymbals. (Zanzh, Manjira)
 SWARA AND SHRUTI

• Shadja : 4 shrutis
• Rishabha : 3 shrutis
• Gandhar : 2 shrutis
• Madhyam : 4 shrutis
• Pancham : 4 shrutis
• Dhaivat : 3 shrutis
• Nishad : 2 shrutis
 GRAM

Three Gram
• Shadaj Gram
• Madhyam Gram
• Gandhar Gram (only name mentioned in
NatyaShastra-Extinct)
 KUTUPA
• There were 3 types of Kutapa :
• 1) Tata Kutapa : This was the main orchestra. The main singer, vainik,
Vaipanchil, and Vainuk used to seat there. The Veena was
MattaKokila, and its player was called Vainik. The musician who
played Vaipanchi Veena was called Vaipanchik. The flutist was called
Vainuk.
• 2) Avanaddha Kutapa : It used to be the seating arrangement for
the rhythm artists such as Mridangik, Paanvik and Dudrdurik.
• 3) Natya-Kutapa : This is where all the artist from the drama show
used to be. They were not given a fixed position, rather they used to
be mobile.
 FURTHER READINGS
• 1480937979P16M3TEXT.pdf (inflibnet.ac.in) For list of all Bhavas
• Natya Shastra – Wikipedia Wikipaedia entry on Natyashastra
• Natya Shastra - New World Encyclopedia Encyclopaedia entry on Natya
Shastra