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    Theatre Studies

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    Rachana

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    strat Rasas In Bharata Muni's Natya Sh The Natya Shastia is the eatliest and pioncer documentation on drama and performance vara: Munt srote the somewhere around 800 BCE and S09 Ch However. ans the most authentic dissertation, the foundational bedrock on which all the drams and music, ate based. The entire eneyelopaedic treatise has 30 chapters There ate many parts: and ronents 1s the Rasa with around 6000 poetic verses that describe the performing: arts Natya Shasta, however, ane of is most important co elements to the theary About Natya Shastra Natvt Shastra comes from two Sanskrit words, *Natya’ meaning an “act” and “Shastiy” meaning jal ovules It iy the oldest surviving document on performing arts and hay survived the Sof time to still continue to be relevant. It has manuscripts and ay per historians has been aMited too along the ages. IL is estimated thal the first 12000 verses were originally written and different chapters are dedicated to different aspects of the arts Chapters 6 and 7 explain the Rasa theory, and chapters 8 to 13 are about the shill of acting, Awhich alse include dance movements, stage instruments, customs, ete. Chapters 14 to 20 talk about the plot and language of expression, Chapters 17 and 18 are attributed to poctrs and the delivery of the speech and so on. The final chapters are dedicated (o the different characters, teamwork. the workings of a troupe, etc. aman ravage: Rasa Theory ‘There Js an amazing amount of information and knowledge that is held in the folds of the Natya Shastra, However, we are going to try and concentrate on one of its most unique and magnificent discourses - The Rasa Theory The Rasa Theury is explained in chapters 6 and 7 and is one of the most important parts of Natya. Shastra This 1s because it in essence explains the purpose of the art, It propagates the aesthette significance of the visual or musical art that iti tum touches the deepest human emottons Rasa comes tiont the Sanskrit word meaning “nectar or taste or flavor.” However aruistically it essentially means the emotions and feelings that we go through when we experience any art form And hence it means the taste or essence of the artwork that an audience derives out of watching it According to Bharata Muni, composition of art of any kind cannot proceed! without rasa \ vital task of the performer is to entice and inspite emotions in the viewer “Thus, tsa is the sentiment that arouses an audience and this feeling goes on to connect the performer and viewer wilh divinity. Realising divinity can be achieved by the performer through the performance of the art, and for the viewer by the observation of the art. ‘The Bhavas Bhava and rasa are both imporiant aspects of perfolmance and are Bhava is the state uf the mind, « mental disposition or attitude of the mind. performer are responsible for the rasa of the audience The Sthayi Bhava is referred to as the permanent or a Sthayibhava along with the other three bhavas ~ Vibhav. Anubhav, and Vyabhikaribhava unite (ogether. the resultant effect is the attainment of Rasa Vibhavas are the motivation that includes the storyline, the actor: sthayi bhava, Anubhavas ate the manifestations of the actors? fe awe the transient sentiments The Sattive bhava is the involuntary: emotions or expressions that are accompanied while experiencing the performance. ted to cach other The bhavas of the fominant emotion But when the S. and the stage, that awake th clings and the wabhikanbhavas Relation Between Bhava And Rasa Let us try and understand the mterrelation between bhava and rasa through a few examples. Ifa beautiful girl comes up on stage the bhava that is emoted is vibhava, Her gestures, glances and moments lead to anubhavas Now if the main mood of the performance is love, then juy and happiness are the transient emotions or vwabhikaribhavas. [F the story: is about separation then the vyabhikaribhavas is pain and anguish. The sattvie bhavas are involuntary expressions. such as blushes or perspiration. Because of all these bhavas. the sthyaibhava of the viewer changes int rasa, Types of Rasa There are many types of Rasas Most historians: agree tha eight types of rasa The ninth rasa was added by Abhinavgupta. Each rasa has a color and attributed to it, Here is taking look at the nine different types of rasa Bharata Muni’s Natya Shastra had deity 1, Shringara Rasa This rasa deals with romance. attractiveness, sexual desire and erotica. Here the sthayibhava is love. The sentiment of passion and love. the shringara rasa is aliliated with Lord Vishnu and has the color dark blue or green, The main idea is the portrayal of love between a man and a woman However, the metaphor often transcends to the relationship between the individual and the divine. Most Classical dancers call the shringara rasa the ‘mother of all rasas. Through this as there is scope to express a plethora of emotions, including compassion, anger, jealousy and physical closeness 2. Hasya Rasa Hasya rasa refers to the feeling of laughter, comedy and joy. The color of this rasa is white and the deity assoctated with it ts Pramatha or Shiva. This rasa usually arses from the shringarg rasa Iis periormed through come dressing ornaments, ete 3. Karu Chis rasa i sympathy, grief, and meres. Its color is Grey and the deity 1 assectates with is, Yama. A character experiences pain or grief dv to the passin of an undesirable event. The performer portrays the emotion through a deyeeted face anid ect which lead the audience lo experienee the haruna rasa away of a loved one or because 4, Raudra Rasa Raudra or Rudra rasa manifests tage. anger and wrath [Lis associated with the color red and the God Rudra. The performance could range fiom topics on rape. jealousy. threats. abuse and more The redness in the eyes and face. biting of lips, and restlessness are all vyabhikaribhavas 5. Veera Rasa Veera rasa is the emotion of bravery and heroism, Yellow or saffron is its color and the rasa associates itself with Lord Indra, Veera rasa 1s all about determination, energy and self confidence. It is expressed with the widening of eyes and expansion of nostrils. There are three types of veers rasa — the dana veera (for the person who is a veer after donating gifts), daya vera (for the person who is sympathetic to all creeds and classes) and yudha vera (for the person who is courageous and brave.) 6. Bhayanaka Rasa This rasa expresses fear. fs color is black and the deity it associates with is Kala, the God of Time Bhayanaka rasa is the feeling of panic that can be brought about by danger ar the anticipation of danger To express this emotion pertormers raise their eyebrows. quiver their exes, look from side to side. flare their nostrils, ete 7. Bhibhatsa Rasa Bhibhatsa rasa manifests the emotions of hatred and disgust, The color blue and the God Mahakala are associated with it, It is expressed on stage by squeezing limbs, rolling the eves, spitting. or expressing disgust in other ways. 8. Abdhuta Rasa is rasa means feeling wonder und marvel. It is associated with the color gold and the deity Gandharva. The rasa depicts the aye and wonderment that one feels when in contact with beauty or the divine. [tas further categorized into Divya Abdhuta Rasa (expressed when seeing the divine) and Anand Abdhuta Rasa (expression of joy) @ hantha Rasa The ninth and final rasa is the Shanthi rasia Abhinavgupta. Vhis rasa manifests the feeling of serenity. peace and fox The color Jasmine and Lord Narayana ate assocrated with 1. The Shantha or Santiam rasa reters 10 the ultimate emotion of joy and bliss that 1s often attained on sclf-realyation The Rasa theors is a fundamental comerstone of the Natva Shastra 11s also the aeademie theorization, as well as the manifested execution One ean call the soul of the pertormanee because i 18 the rasa that connects the viewer with the pertormer between the two, elevates the performance to the spiritual realm which most scholars a ee Was And the bond that strikes Theory of Rasa Introduction Rasa Theory asserts that entertainment (in the drama/performance) is expected to evoke Rasa or joy (artistic) but that is not the primary goal The primary goal is instead to create parallel life in front of the audience to experience a sense of one's own (i.e. Consciousness, spiritual and moral question). Bharatamuni believes that the dramatic form of aesthetic experience is the most perfect fruition of aesthetic activity because drama is the synthesis of all arts. According to Abhinav Gupta (one of the famous critics of Natyashastra), Rasa is the simplest and most we bewildering expression in the Sanskrit language. Anyone can experience it but cannot define it precisely. Features of Rasa Theory 1. Rasa means aesthetics, juice, essence, taste in performance. 2. Rasa is an undefinable realization and intense feelings with detachment. 3. It is the flavor (general) or aesthetic emotion (metaphorical). 4. It is the soul of poetry. 5. Rasa is an emotion and cannot be described in opposition to Aristotle. . Originally, Rasa means juice, essence or elixir, . It is the pleasure experienced by each class of people. . No other word can define Rasa completely. . Itis the impression created on the mind of the sympathetic audience by the expressions of Bhavas (emotions) and it’s experienced by it. 10. Rasa is not experienced in common situations but only in the art form. Rasa’s Foundation is laid upon a particular view of psychology that holds. our personality and according to which a few primary emotions live in the conscious and subconscious state of our being. COND Sune These emotions are fearful, i vast, amusing, pathetic, heroic, passionate, disgusting and wond re , : tional lerful. Later ‘al and devo were also added. on peaceful, intellectu' + These emotions are running in a permanent manner and may In the sense called dominant emotions. (Sthaibhavasy: + These prominent states that determine particular internal temperaments are regarded as the dominant,characteristics of those emotional states According to Bharatmuri, the realization of Rasa results from the Union of Vibhavas, Anubhavas, and Vyabhikaribhavas When " Sthaibhavas unite with others, the three Bhavas, one attains the quality of Rasa Bhavas in Indian Aesthetics Sthaibhavas These are the permanent or dominant moods. They are 8 in number- Rati (love), Hasya (humorous), soka (sorrow), krodha (anger), utsaha (enthusiasm), bhaya (fear), jugupsa (disgust) and vismaya (wonder). . Later on, passiveness was added by Abhinavgupta and Anandvardhana. . Sthaibhavas are the basis of Rasa and are supreme among all Bhavas which are 49 in number. . Sthaibhavas constitute the principal theme of a composition. + They run all emotions like garland and cannot be overpowered by them. Rather the latter feed and strengthen them and help them emerge as Rasa. Vhibhavas They are the situations which are responsible to bring out Sthaibhavas. Vhibhavas have two aspects- Alambana and Uddipana. The person in whose mind Sthaibhavas run is known as Allambana Vibhavas. The moonlit, spring, soft breeze, fragrance of flowers are Uddi Vhibahavas. In other words, they are stimuli. aes » Anubhavas motions arise In They are their effect seen upon the character after the e1 U Abhinaya by the actor(s). They make spectators feel or experience words and gestures. Vyabhikaribhavas + They are the transitory and temporary mental states. + They strike mind and become the cause of experiencing a permanent mood. + They are 33 in numbers. Some of them are a weakness, depression, anxiety, despair, etc. They spring out of principal emotion and ultimately merge into it. They are like waves and bubbles that appear and disappear as the mighty stream of dominant emotion flows on, smiling and replying and dancing. The realization of Rasa is the result of the union of Sthaibhavas, Vibhavas, Anubhavas, and Vyabhikaribhavas. Rasa theory draws a clear distinction between real-life experience and art experience- unordinary. In order to realize Rasa that must possess an adequate degree of intellectual and emotional equipment. Rasas in Indian Aesthetics Shringara Rasa + It is given the highest honor ever since the beginning of Poetics. + Sthaibhava or emotion of this erotic sentiment is Rati or love. Hero and heroine are Alambana Vibhavas. Swam, youth, solitude, songs of cuckoo are Uddipana Vibhavas. + Sideglances, twisting of limbs, brows are Anubhavas. + Leaving aside, the fight is Vyabhikaribhvas + Collectively they provide joy Shringara Rasa. Karuna Rasa + Itemerges due to Soka (grief). + Itis pleasurable as it has the power to meet the human heart. + Adeceased person is Alambana. Souunninnnnimnmmmmnmisemecassceeeel s . Reference to him is Uddipana + Cursing destiny, stupefaction are the Anubhavas. + Disgust, anxiety and uneasiness are Vyabhikaribhavas. Haysa Rasa Itis the comic elements. It happens by showing unseemly dress, ornaments, quarrels, defective limbs etc. Rudra Rasa «Anger, rape, abuse, insult, threatening, jealousy etc ate Alambana Vhibhavas. + Beating, breaking, crushing, cutting are Uddipana Vhibahavs + Red eyes, knitting of eyebrows, biting of lips, determination, energy, restlessness and trembling are Vyabhikari Bhavas. Other Rasas « Vira Rasa (zeal or utsaha) . Bhayanka Rasa (fear or Bhaya) + Adhbuta Rasa (Vismaya) + Santa Rasa (Nirveda) The folk theatre of North Karnataka is very rich and stands apart from that of southern or costal Karnataka. It has therefore its own distinctive feature, which have not all drawn the attention of thetare scholars. The folk theatre of north Karnataka is generally known as bayalata, Which is derived from ‘ata’ which means a play or drama and also a game in general. In the context of Kamataka, drama (ata) was classified into two categories for convenience: Bidi ata (steet paly) and Attadata (stage paly) or Bayalata (open air drama). Attadata or bayalata may be divided into two groups: paduva lapaya (western mode) and mudalapaya (eastern mode).Mudalapaya is prevalent in the eastern Karnataka in general but predominant in north Karnataka districts like Dharwad, Belgaum, Bijapur, Bellary, Raichur, Gulbarga and Bidar. Geographically speaking, these two modes of drama are divided by the Sahyadri mountain range in Karnataka State. Mudalapaya may be divided into two categories: one, doddata (big play) and sannata (small play). Doddata is a form of folk drama, prevalent particularly in the north eastern part of Karnataka. This is usually performed by non-professional rural artists on festival occasions under the guidance of a teacher called Atada Mastara. Doddaata performances are extremely energetic and require lot physical stamina and consummate skills because valour is their tour de force>This is evident in the dialogues, songs and the dances associated with it. The char of high flowing sentences full of Sanskrit words and interr high pitch virtually without any break or a change in modulation, The songs reveal a fair share of folk elements even though they are based on Karnatak music Most rang ones se, rendered by the ‘sarathy’. The background musical support er Se Itis Virtually a group. The instruments > havine. Harmonium has made a late entry. racters deliver a seri nal rhyming, in a very Yakshagana, dance-drama of South India, associated most strongly with the state of Karnataka Elaborate and colourful costumes, makeup, and masks constitute some of the most-strikin: features of the art form. Traditionally, vakshagana was performed in the open air by all-male troupes sponsored by various Hindu temples. Since the mid-20th century, however, many performances have been held on indoor stages. and women began to train in the tradition in the 1970s. With roots in Sanskrit literature and theatre, yakshagana emerged as a form of dance-dra the 16th century. During the following 500 years, the ywkshagana corpus grew to include hundreds of plays. most written in Telugu or in the Kannada language, but only about five dozen of the works were actively performed in the 21st century The narratives are drawn primarily: from the great Hindu epies Ramayana and Mahabh well as from the tales of the youthful god Krishna as recounted in the Bhagavaia-pursinct Historically, the cities of Tanjore (now Thanjavur) and Madura (now Madurai), both in the stile of Tamil Nadu, and Mysore, in Karnataka, were centres of yakshagana composition. Among the most-notable texts are the Telugu Sugriva vijayam (“Sugriva’s Victory”: ¢. 1570) by Kandukur Rudra Kavi and the Kannada works of Parti Subba (f1. ¢. 1800). who is known for his moving episodes and songs from the Ramayana. Yakshagana performances use standard character types that are readily identifiable by the colout and design of the actors’ costumes and makeup. Red and black makeup. for example. would signal a demonic figure. while a pinkish yellow face. a prominent mark on the forehead. and large teardrop-shaped turban would indicate a heroic character. variafion in such costume codes. There is. however, some regional The actors sometimes perform from a script and sometimes improvise their lines, in either case ng their cues from the lead musician, or bhagavatar. who ultimately directs the production. In Karnataka the bhagavatar sings and narrates to set the scene for the action. usually while playing a small handheld gong or finger cymbals called sala. Some ensembles include both the cymbals and a gong, which is played by a second musician. The principal rhythmic component of the music is provided by two drummers, one playing a double-headed maddale. which is struck with the hands, and the other playing a double-headed centa, which is beaten with sticks Typically, a harmonium carries adrone to anchor the melodic activity, In some. eases the bhagavarar may be supported by additional singers. Yakshagana is similar—if not directly related—to various forms of dance-drama _vario in neighbouring states. most notably the kathakali classical form of Kerala and the serukkuitu street theatre of Famil Nadu Yakshagana Yakshagana is a traditional folk dance form popular in coastal Karnataka districts and some parts of Kerala. It is considered that Yakshagana has originated as a product of the Vaishnava bhakti movement. Introduction ‘+ Yakshagana literally means, “song” of the yaksha (demi-gods/spirits). ‘The mela or troupe consists of two main parts: + Mummela (foreground actors) + Himmela (singers and instrumentalists in the background), + Itisa theatrical art form of Karnataka, originally an all-night performance where the mela travelled from one village to another. ‘+ Itisalso performed in the south Canara districts of Karmataka and Kasaragod district of Kerala + Yakshagana is performed in open-air theatres. + It is usually performed in the village paddy fields after the winter crop has been harvested. Elements of Yakshagana The Act * Each performance typically focuses on a small sub-story (known as ‘Prasanga’) from ancient Hindu epics of Ramayana or Mahabharata. + The show consists of both stage performances by talented artists and commentary (performed by the lead singer or Bhagayatha) accompanied by traditional music. Who is a Bhagavatha? © The Bhagavatha, part of the himmela, is the lead singer and narrates the story through songs, while the dancers/actors (mummela) enact the stories drawn from the Ramayana, the Mahabharata and the Puranas. Bhagavata sings in his magical high-pitched voice, invoking the Gods for the successful completion of the |: Bhagavatha is the chief narrator of the story. ‘ |____evening’s performance. The Mus ic Musical instruments used in Yakshagana include: Chande (drums), 1 2. Harmonium, 3. Maddale, 4. Taala (mini metal clappers) and 5, Flute among others. The Dress + Costumes used in Yakshagana are unique and elaborate, + Large size headgear, coloured faces, elaborate costumes all over the body and musical beads on the legs (Gejje). * Kavacha decorates the chest, armlets for the shoulders and belts are made up of light wood and covered with golden foil * Performers need a great physique to perform with heavy costumes for several hours, and also strong voice and acting/dancing skills. The Language * Yokshagana is generally presented in Kannada, but also._ performed in Malayalam and Tulu languages on certain occasions, The Troupes There are several popular troupes (known as Melas) performing Yakshagana throughout the year. Some leading melas include: 1. Saligrama mela, 2. Dharmasthala Mela, 3. Mandarthi Mela, 4. Perduru Mela What is *Pagade’ of Yaksh + Iisa headdress or kirita + The Pagade is not readymade to be placed on the head. ‘+ The crown worn by characters which have both heroic and playful characteristics is a work of art by itself. Other Art Forms of Yakshagana Yakshagana was formerly known as Bayatala by some people in Karnataka. The sister art forms gana associated with Yakshagana are listed below: 1. Therukoothy of Tamil Nadu, 2. Kutiyattam and Chakyarkoothu of Kerala, 3. Veedhinataka of Andhra Pradesh Other Forms of Dance-drama or Folk Theatre Ther and concerns. Depending on the purpose of celebration, its characteristics also vary. When a wide variety of folk music, dance and drama forms. They can share common themes is performed and by whom? * The agricultural communities perform folk music and dances to celebrate ‘+ The rhythms of daily life * The turn of the seasons + The highlights of the agricultural calendar + Important events (births and marriages) * Sowing of the wheat erop «Fishing commun +Other local communities STE On Eee eae DAM ete Spontaneous energy: Folk dance of women in Punjab region of Pakistan and India Ghoomar Rajasthani women Garba Gujarat; Dance in a circle with batons Dandiya Ras Gujarat men; A more vigorous version of Garba, leaping and crouching in twirling patterns Lavani Maharashtra Nautanki Rajasthan, Uttar Pradesh and Bihar Bhavai Gujarat Tamasha Maharashtra Jatra ‘West Bengal, Odisha and eastern Bihar ‘Yakshagana Karnataka Theyyam Kerala Yakshagana and Gombeyatta + Gombeyatta is the traditional string puppet of Karnataka. + They are styled and designed like the characters of Yakshagana, the traditional theatre form of the region The episodes enacted in Gombeyatta are usually based on Prasangas of the Vakshagana plays. The puppets are highly stylised and their costumes and make-up are similar to Yakshag: The puppets of Gombeyatta resemble the actors of Yakshagana and the sets are also desig. the Yakshagana stage, Va ants of Yakshagana Itis found that two variants of Yakshagana exist. The characteristics/features of these two different styles of Yakshagana are listed and tabled below: Lr) Itis prevalent in Northern parts of South Canara, from This style is prevalent in Southern areas of South Padubidri to Byndoor and North Kanara District. Canara, that is, from Mulki to Kasargod. Instrument used ~ a typical Karnataka chande drum. Instrument used — Kerala maddalam (traditional Kerala percussion instrument, Popularised as shorter, and more modern form of Yakshagana. Its less exuberant costumes, particularly the demon Their omaments are made out of light wood. pieces of mirror, costumes, make it seem more like Kathakali than like and coloured stones. Badagutittu. Famous artist ~ Keremane Shivarama Heggade Famous artist ~ Sheni Gopalakrishna Bhat Recent Development * Dakshina Kannada District Sahitya Sammelan has urged the Karnataka government to declare Yakshagana as a representative art form of the State. + Keremane Shivarama Heggade is the first Yakshagana artist to receive the Rashtrapati Award. He the founder of the Yakshagana troupe named Idagunji Mahaganapathi Yakshagana Mandali He is an exponent of Badagutittu style of Yakshagana, * Every important character is introduced by lifting the theray (screen), which prepares the audience for the actual moment when these characters will emerge on stage in all their grandeur. WS EEE \ Bharata Muni’s Natyashastra and drama ~ written somewhere around 500 BC pread over thirty-six chapters, Natyashastra is the earliest literature on musi by Bharata Muni. Comprising 6000 couplets in Sanskrit and sj . r was on dance and drama, with musi cd. The title is a combination of hwo Sanskrit words ~ Natya and Shastra. Natya refers to technique of dance and dram and te cer afers to science. It is the magnum opus that describes ~ relation between director and aience, structuring @ play, acting techniques, costumes and! make-up. music and musical insiruments to be used. the dimensions of the stage and its decorations with lighting, and size of the hall and seating of audience. Directors and producers of plays mention that its relevance is high even in this date and = vocal and instrumental (melodic and rhythmic) and their categorise Bharata Muni’s description of music as strumental, (4) preliminary music (as in before the a music ~ authored by the ide you on how to Chapters 28 to 33 dwell on mu deployment in drama/theatre. Thus, we may (1) vocal, (2) instrumental, (3) vocal and drama begins or just at the commencement of drama, and (5) Dhruv: ~ director and set to music. Reading these particular chapters will definitely become a singer. Natyashastra classifies instruments as (1) “tata” ~ stringed, (2) “avanadha” — covered percussion. 3) “sushira” — hollow (flute), and (4) “ghana” ~ rhythm supports like cymbals. This knowledge of different instruments is essential for those who want to learn singing too. The text has even codified the dimensions of the instruments, the material to be used, the treatment of the material before they are deployed, and the artisanship to convert the various parts into a single whole instrument. Artisans involved in handerafting/making instruments today too follow the broad directions mentioned in Natyashastra. Bharata Muni stressed on a 22 swara octave. Swaras are the first elements of music taught to students when they start to leam singing. It is said he performed a large public experiment to demonstrate the 22 swaras. While the concept of a raga did not exist and was not named so, jaatis, and murchanas made up for this lack of definition. Natyashastra defines these in detail in addition to explaining the organising of swaras as vadi, samvadi, anuvadi and vivadi for the jaatis and murchanas, Bharata Muni expounded the relationship between performers and audience through rasa- bhava anubhava. He elucidated eight types of “rasas” and their corresponding “bhavas” that is emotions. A “rasa” is an emotional state. Very simply put, it means “juice” or sap. A “rasa” is usually the dominant emotional theme through a work of art. It is the delight and pleasure experienced directly from art. “Bhava” means to become. It is a state of mind whose outcome is a “rasa”. Knowing how to sing with emotion is an important skill to master if you want to learn to sing well Bhava is the emotion felt by the character and communicated to the audience via various dramatizations by the performer, resulting in the audience experiencing the rasa, As per Bharata, bhava by itself is incomplete and carries no meaning without the rasa. a eC ® Rasa Bhava Emotion Sringara Rati Romance Hasya Hasa Humour Karuna Shoka ‘Compassion Roudra Krodha Anger Veera Utsaha Valour Bhayanaka Bhaya Fear hatsa Jugupsa Disgust Adbhuta Vismaya Marvel The Natya Shastra of Bharata is the principal work of dramatic theory, encompassing dance and music, in classical India, It is attributed to the muni (sage) Bharata and is believed to have been written during the period between 200 B.C.E. and 200 C.E. The Natya Shastra is the outcome of several centuries of theatrical practice by hereditary actors, who passed their tradition orally from generation to generation. It is in the form of a loose dialog between Bharata and a number of munis who approach him, asking about ndfyaveda (lit. ndjya= drama, performance; veda= knowledge). The ‘Natya Shastra’ discusses a wide range of topics, from issues of literary construction, to the structure of the stage or mandapa,to a detailed analysis of musical scales and movements (murchhanas), to an analysis of dance forms that considers several categories of body movements and their effect on the viewer. The ‘*Natya Shastra’? posits that drama originated because of the conflicts that arose in society when the world declined from the Golden Age (Krta Yuga) of harmony, and therefore a drama always represents a conflict and its “Resolution, Bharata’s theory of drama refers to bhavas, the imitations of emotions that the actors perform, and the rasas (emotional responses) that they inspire in the audience. The eight basic bhavas (emotions) are: love, humor, energy, anger, fear, grief, disgust and astonishment. In observing and imagining these emotions, the audience experiences eight principal responses, or rasas: love, pity, anger, disgust, heroism, awe, terror and comedy. The text contains a set of precepts on the writing and performance of dance, music and theater, and while it primarily deals, with stagecraft, it has influenced Indian music, dance, sculpture, painting and literature as well. Thus, the Natya Shastra is considered the foundation of the fine atts in India. Date and Authorship of Indian classical dance, has argued that based However, Kay a leading scho on the unity of the text, and the many instances of coherent references to later chapt earlier text, the compo likely that of a single person, Whether his Bharata was the author's actual name is open to question;!"! near the end of the text we have the verse: "Since he aking on many roles, he is called Bharata" alone is the leader of the performance, (35.91), indicating that Bharata may be a generic name. It has been suggested that Bharata is, sha for bhava (mood), rd for raga (melodie framework), ancl n acronym for the three syllable: ta for fala (chythm). However, in traditional usage, Bharata has been iconified as a muni or saue, and the work is strongly associated with this personage. jon that the date may lie somewhere between stulated, this appears to These arguments, and others, have led to the op 200 B.C.E. and 200 C.E.9!") Though earlier and later dates are often p be the "broad consensus." Title and Setting Written in Sanskrit, the text consists of 6,000 swras, or verse stanzas, organized in 35 or 36 chapters. Some passages that are composed in a prose form. » The title, “Natya Shastra", can be loosely translated as A compendium of Theater or aA Manual of Dramatic Arts. Natya, or nataka means “dramatic arts.” In contemporary usage, this word does not include dance or music, but etymologically the root na/ refers to “dance.” The “Natya Shastra’’ is the outcome of several centuries of theatrical practice by hereditary actors, who passed their tradition orally from generation to generation. The text is in the form of a loose dialog between Bharata and a number of munis who approach him, asking about ndjyaveda (lit. ndjya=drama,performance; veda=knowledge). The answer 10 this question comprises the rest of the book. Bharata testifies that all this knowledge is due to Brahma. At one point, he mentions that he has a hundred "sons" who will spread this knowledge, which suggests that Bharata may have had a number of disciples whom he trained The creation by Brahma of natyaveda is associated with an egalitarian myth about a,fi/th veda; since the four vedas, also created by Brahma, were not to be studied by women and lower castes, he created this fifth veda, the art of drama, to be practiced by everyone. Performance Art Theory The Natya Shastra discusses a wide range of topics, from issues of literary construction, to the structure of the stage ormandapa,to a detailed analysis of musical scales and movements (murchhanas), to an analysis of dance forms that considers several categories of body movements, and their effect on the viewer. Bharata describes fifteen types of drama, composed of from one to ten acts, Full-scale plays of five or more acts are classified as either history or fiction, The “Natya Shastra’* describes eight types of shorter plays, from one to four acts: heroic, tragic or comic plays, together with the satirical monologue; the street play; and three kinds of archaic plays about gods and demons. There is also a secondary four-act “light play,” a fictitious, sensitive comedy about a a real character. The principles for stage design are laid down in some detail. Individual chapters deal with aspects such as makeup, costume, acting, and directing. A large section deals with how the meanings conveyed by the performance (bhavas) can be particularly emphasized, leading 10 a broad theory of aesthetics (rasas). Four aspects of abhinaya (acting, or histrionics) are described: the messages conveyed by motions of parts of the body (angika); speech (vAchika); costumes and makeup (AhArya). and on the highest level, by means of internal emotions, expressed through minute movements of the lips, eyebrows, ear, and so on/sAdtvika). The “*Natya Shastra” claims that drama originated because of the conflicts that arose in society when the world declined from the Golden Age (Krta Yuga) of harmony, and therefore a drama always represents a conflict and its resolution, The conversion of a story into a dramatic plot is based on the single main element which ends the conflict, elaborated in its elements and conjunctions, Each full-scale play embodies five “conjunctions:” opening, re-opening, embryo. obstacle, and conclusion. Each of these “conjunctions” is filled out with up to a dozen dramatic incidents and situations which show the characters in action. A large number of dramatic device are available to express the causes and effects of emotion. Rasa The Natyashastra delineates a detailed theory of drama comparable to the Poetics of Aristotle. The purpose of drama is to entertain the audience. The joy (harsa) and solace experienced by the audience is induced very deliberately by the actors through special acting techniques, Bharata refers to bhavas, the imitations of emotions that the actors perform, and the rasas (emotional responses) that they inspire in the audience. The eight basic bhavas (emotions) are: love, humor, energy, anger, fear, grief, disgust and astonishment. These are not conveyed directly to the audiences, but are portrayed through their causes and effects, In observing and imagining these emotions, the audience experiences eight Principal responses, or rasas: love, pity, anger, disgust, heroism, awe, terror and comedy. Bharata recommends that plays should mix different rasas but be dominated by one. The audience essentially enjoys the play, but is also instructed by observing both good and bad actions, and the motivations which inspire them. Each rasa experienced by the audience is associated with a specific bhava portrayed on stage. For example, in order for the audience to experience srngara (the 'erotic' rasa), the playwright, actors and musician work together to portray the bhava called rati (love), Dance Dancing is closely related to drama, and like drama, employs chiefly words and gestures; dance employs music and gestures. The “Natya Shastra’ classifies thirteen positions of the head, thirty-six of the eyes, nine of the neck, thirty-seven of the hand, and ten of the body. Modern Indian dancers still dance according to the rules set forth in the **Natya Shastra.”” is a portrayal of the eight emotions. Drama Group dances or individual dances could be introduced into a drama whenever appropriate. The fasya, a solo dance invented by Parvati, represented a story, or part of a story, within a drama, Music After the Samaveda that dealt with ritual utterances of the Vedas, the “Natya Shastra” is the first major text that deals with music at length. It is considered the defining treatise of Indian Classical Music until the thirteenth century, when the stream bifurcated into Hindustani classical music in North India and Pakistan, and Carnatic classical music in South India, While much of the discussion of music in the ‘Natya Shastra’ focuses on musi instruments. it also emphasizes several theoretical aspects that remained fundamental to Indian music: 1, Establishment of Shadja as the first, defining note of the scale or grama, The word Shadja i (431) means ‘giving birth to six’, and refers to the fact that once this note (often referred to as "sa" and notated S) is fixed, the placement of other notes in the scale is determined. 2. Principle of Consonance: Consists of two principles: a. The first principle states that there exists a fundamental note in the musical scale which is Avinashi (3f8e7T@) and Avilopi (31fFeTH) that is, the note is ever-present and unchanging. b. The second principle, often treated as /aw, states that there exists a natural consonance between notes; the best between Shadja and Tar Shadja, the next best between Shadja and Pancham. 3. The “*Natya Shastra’” also suggest the notion of musical modes ot jatis, which are the origin of the concept of the modern melodic structures known as ragas. Their role in invoking emotions is emphasized; compositions emphasizing the notes gandhara or rishabha are said to be related to tragedy (karuna rasa), and rishabha is to be emphasized for evoking heroism (vira rasa). Jatis are elaborated in greater detail in the text Dattilam, composed around the same time as the “Natya Shastra.”* i The “Natya Shastra’’ discusses several aspects of musical performance. particularly its application to vocal, instrumental and orchestral compositions. It also deals with the rasas and bhavas that may be evoked by music. Impact “Natya Shastra”® remained an important text in the fine arts for many centuries, and deft much of the terminology and structure of Indian classical musie and Indian classical d Many commentaries have expanded the scope of the ‘Natya Shastra,” inc Matanga’s Brihaddesi (fifth to seventh century); Abhinavagupta's Abhinavabharat unifies some of the divergent structures that had emerged in the intervening years, and « ES ngita. Ratnakara (thirteen-century work that body forms and movements also influenced Il The structures of music outlined in the een in the seminal work Hindustani the early twentieth century theory of artistic analysis); and Shamngadevals Sa tinifies the raga structure in music). The analysis sculpture and the other arts in subsequent centuries “Natya Shastra”” retain their influence even today, as st Sangeetha Padhathi,®) by Vishnu Narayan Bhatkhande, written in Analysis of Natyasastra ‘The Natyasastra is the earliest and the most important available work on Sanskrit dramaturgy. It has arranged and beautifully discussed vast dramatic contents of all aspects. It is a very well written practical book ‘of drama, which has not left any: theatrical matter. There is no evidence of any work preceding it, but we cannot avoid the possibility. However, Bharata has taken some points from the predecessors (Gnuvamsya and aryas) in the fifth and sixth chapter, of the Natyasastra, which have come through the tradition of teacher and student or the succession of father and son. Afier the Natyagastra, some treatises may have been written which precede the Daéartipaka, but they are lost in the course of time. The Natyaéastra lays down the principles of dramaturgy for the guidance of the poets and actors. In the very first chapter, Bharata himself ‘mentions that Brahma taught the rules of Natya to him, which he composed as the Natyasastra subsequently, The present work of the Natyasustra is a concise version, which was supposed to have more than thirty-six thousand verses. Though it is said that the Natyasastra is “a@nuvamsya” in some places, the descendents of Bharata are not the compilers of the Natyasastra. Bharata alone is the compiler of the Natyasistra, However, there are several of Bharatas such as AdiBharata, Vrddha-Bharata, Jada Bharata and Bharata, the son of Dusyanta. History (1998, Krishna Kumara, Alamkarasastra ka Irihdsa, p.30) states that: there were five persons having the name of Bharata, in the ancient age, ie. Bharata, the son of Dagaratha, Bharata, the son of Dusyanta, Bharata, the grand-son of Mandhata, Jada- Bharata and Bharata, the author of the Natyasastra.” According to some Westem and Indian scholars, Bharata, the author of theNatyasasirl. 6 special person, who had power to move both in the heaven and on the earth and performed dramas in both heaven and earth, Even Bharata himself mentions in the Natyasastra that he was advised by Brahma to compose the NatyaSastra. However, the opinion is not accepted by the scholars like Hemacandra, Rajasekhara, Abhinavagupta, Singabhipala ved Damodera Gupta (Krishna Kumar, p31). Thus, he must be historical person and the mythology covers his historical personality. However, tradition honours him by using “bharatawaya” at the end of the dramas. Therefore, the Natyasastra was written by Bharata and affter him it was revised and refined by others. However, it must be observed here that the Natyasastra is the vast treatise for the commen people of all castes, sects and the genders (sdirvavaryika-Natyasistra1.12) and it could be enjoyed in both ways, ic. visually and audibly. It isthe collection of the essential elements from the four Vedas like the text from the Reveda, the song from the Simaveda, the representation from the Yajurveda and the sentiments from the Atharvaveda, Thus, itis called the fh Veda Therefore, the ancient Indian classical drama was religious but not secular, and that is why Bharata classifies it as the representation of the states of the three-worlds (ravlokvasya bhavinukirianam-Néwyasasira\.107), It is the imitation of the action of the people € (lokureyttdnudaranain Natasa bhivoparscampaartaan Nay asst emotions ra 112), which is based = on various: situations (nana A112) and which — depicts different 3 (nm Sndvasthantardemakam Natyasasta 1112). Again, 101s based on the actions of good, bad an dhamamadhyandim narandm kar masamsrayam-Natyasistea, 1.113): and it sorrows of the world it is called middle people (tam ve the representation of human nature with its Joys and (ayum svabhave lokasya “gukhadulikhasamanvitah -Natyasastra.1.119). Therefore, arama itis very dificult to decide the dite of the Naiyadista, like other old Sanskrit works. The 1 for the Natyagastra, because of the doubts of its authenticity sake MSS. of the work. M. Ghosh fixes the date ofthe Natyasastra from 500 B.C. to 200 A.C Ttowever, Jacobi puts i in the third century A.D. Paul Regnaud placed it in 100 B.C. Haraprasad Shastri puts in the second century A.D. P. V. Kane placed it in 200 BC. to fourth eS N_ Shastri placed it inthe third century B.C. and third A.C. Again, S. K. De has ascribed sre ane as fourth century A.D. (Nalyasistra, Part 1, Introduction by Manomohan Ghosh, 2012, pp lisene), Then Both the Visnudharottara Purina (third part, 17th chapter) and the Agni Purina (cha 338) reflect the topics of Dasartipakas and the date of these two works are ascribed by various scholars as the fith to the seventh century A.D. Thus, the date of the Natyasastra should be placed before them. However, the date of the Natyasistra is uncertain unless and until the dates of KSlidssa, Bhasa and Aévaghosa are not decided, because Bhasa has less used the rules of the Natyasastea and Kalidasa and Aévaghosa have followed most of the rules of the Natyasaistra. Anyhow, the Natyasiistra cannot be ascribed a later date than 300 A.C. scholars have ascribed various Further, it is surprising that the Natyasistra was first published in a foreign land by a foreign scholar and it disappeared by 1865 A.D. and was unknown to everyone. Krishna Kumar (1998, Alankdrasastra ka Itihdsa, p.29) mentions that “in 1865, Fredrik Hall discovered the Natyasistra in an incomplete condition, He got four chapters, ie. the seventeen, the nineteen, the twenty and the twenty-four, Then in 1874 A.D. German scholar, Heymann had got and published a complete copy of the Natyagistra. In 1880 A.D., Regnaud, a French scholar published the Gfteenth and the sixteenth chapters in French language, Then one of the students of Regnaud, viz. J. Grosset, published twenty-cighth, a single chapter and again he published it from the first to fourteenth chapters. However, in 1894, the Natyasastra was published by Nimayasdgara Press, Bombay, Kavyamild Series by Sivadatta and Kashinath Panduranga. Again, it was published in 1935 by Kasi Sanskrit Series; by Pandit Batukanath Sharma and Pandit Baladev Upadhyaya.” At present, there is only one commentary of the Natyasistra, which is available, viz. Abhinavagupt’s Abhinavabhdrati (975-1015 A.C.). There is “mother commentat , ie, Nanyadeva’s “Bharatabhdsya”, but it describes only about the music. Further, ftom various om it is known, that there were many commentaries of the Natyasastra, but all of them are ener ou of time oN) authors like Kohala, Dantila, Drauhini, Rahula, Harga, lodbhata, Lollata, Matrgupta, Srisankuka, Bhaftandyakaand Bhatta Yantra are supposed have written commentaries on Natysastra (Manomohan Ghosh, Natyasastra, Introduction, the Natysastra ( Nn t johan Ghosh, Natyasastra, Intros s N) are thirty-six chapters_in the Natyasistra, which discuss claborately the essentials of Fe Music. Dance, Alankaias, Stage-Construction, Metres, Prosodyand points ofall the chapters have been discussed briefly below: Thet dramaturgy. Such tients. The main Is requested Brahma to create a origin of the Natya. God ted the Natyaveda as the jescribes elaborately the

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