Manorama: Author name in below of the page

2023-09-27T08:22:07Z

Author name in below of the page

← Older revision		Revision as of 13:52, 27 September 2023
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	'''Authored by - Rohini Manjunath A, Bengaluru; 'Origin of Drama/Theatre in Indian perspective' ; Published by [https://www.noopurabhramari.com/origin-of-drama-theatre-indian-perspective/ Noopura Bhramari] – An IKS Centre, As a part of Śāstra ranga Fellowship/ Internship programme.'''


	''Nāṭyaśāstra''<ref>https://sanskritdocuments.org/iast/natyashastra/<nowiki/>https://archive.org/details/NatyaShastra/natya_shastra_translation_volume_1_-_bharat_muni/</ref> – the foremost compendium on Indian Dramaturgy forms the basis of performing arts practiced across the country. The root of the Sanskrit word ''Nāṭya'' is Nat which means “act”. The word ''Śāstra'' means, “a sacred precept, rule, scriptural injunction, manual, compendium, book or treatise”. The word ''śastra'' is used in the context of Indian literature, for any department of knowledge or science, in a defined area of practice. ''Bharata'' in ''Nāṭyaśāstra'' describes the performing art in the form that was in practice in his times''. Nāṭyaśāstra'' deals with diverse themes associated with Indian Dramaturgy. Besides theatre, ''Nāṭyaśāstra'' also lays down guidelines to stagecraft, dance and music, poetry. ''Nāṭyaśāstra'' elucidates the practical aspects of drama without giving much emphasis on its philosophical or theoretical aspect. This mode of communication is called ''Kantā sammita''.		''Nāṭyaśāstra''<ref>https://sanskritdocuments.org/iast/natyashastra/<nowiki/>https://archive.org/details/NatyaShastra/natya_shastra_translation_volume_1_-_bharat_muni/</ref> – the foremost compendium on Indian Dramaturgy forms the basis of performing arts practiced across the country. The root of the Sanskrit word ''Nāṭya'' is Nat which means “act”. The word ''Śāstra'' means, “a sacred precept, rule, scriptural injunction, manual, compendium, book or treatise”. The word ''śastra'' is used in the context of Indian literature, for any department of knowledge or science, in a defined area of practice. ''Bharata'' in ''Nāṭyaśāstra'' describes the performing art in the form that was in practice in his times''. Nāṭyaśāstra'' deals with diverse themes associated with Indian Dramaturgy. Besides theatre, ''Nāṭyaśāstra'' also lays down guidelines to stagecraft, dance and music, poetry. ''Nāṭyaśāstra'' elucidates the practical aspects of drama without giving much emphasis on its philosophical or theoretical aspect. This mode of communication is called ''Kantā sammita''.

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	The chapter concludes with ''Bharata'' elucidating the importance of performing pooja to the ''Ranga devatas'' deities of theatre / playhouse.		The chapter concludes with ''Bharata'' elucidating the importance of performing pooja to the ''Ranga devatas'' deities of theatre / playhouse.


			'''Authored by - Rohini Manjunath A R, Bengaluru; 'Origin of Drama/Theatre in Indian perspective' ; Published by [https://www.noopurabhramari.com/origin-of-drama-theatre-indian-perspective/ Noopura Bhramari] – An IKS Centre, As a part of Śāstra ranga Fellowship/ Internship programme.'''

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Manorama: Few Citations improved with transliteration marks adopted.

2023-09-27T05:48:25Z

Few Citations improved with transliteration marks adopted.

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Manorama: Links

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Links

← Older revision		Revision as of 10:48, 27 September 2023
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	'''Authored by - Rohini Manjunath A, Bengaluru; 'Origin of Drama/Theatre in Indian perspective' ; Published by [https://www.noopurabhramari.com/ Noopura Bhramari] – An IKS Centre, As a part of Śāstra ranga Fellowship/ Internship programme.'''		'''Authored by - Rohini Manjunath A, Bengaluru; 'Origin of Drama/Theatre in Indian perspective' ; Published by [https://www.noopurabhramari.com/origin-of-drama-theatre-indian-perspective/ Noopura Bhramari] – An IKS Centre, As a part of Śāstra ranga Fellowship/ Internship programme.'''


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	[7] Oral documentation - Dr Manorama B N		[7] Oral documentation - Dr Manorama B N

	[8] Natyashastra Kathana Malike series authored Dr Manorama B N, published at [~~[Noopurabhramari~~.com/natyashastra-kathanamalika-part-1/\|Noopura Bhramari]]		[8] Natyashastra Kathana Malike series (8 Episodes) authored Dr Manorama B N, published at [https://www.noopurabhramari.com/natyashastra-kathanamalika-part-1/ Noopura Bhramari]

Manorama: Freshly uplaoded the page

2023-09-27T05:06:25Z

Freshly uplaoded the page

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'''Authored by - Rohini Manjunath A, Bengaluru; 'Origin of Drama/Theatre in Indian perspective' ; Published by [https://www.noopurabhramari.com/ Noopura Bhramari] – An IKS Centre, As a part of Śāstra ranga Fellowship/ Internship programme.'''

''Nāṭyaśāstra'' – the foremost compendium on Indian Dramaturgy forms the basis of performing arts practiced across the country. The root of the Sanskrit word ''Nāṭya'' is Nat which means “act”. The word Śāstra means, “a sacred precept, rule, scriptural injunction, manual, compendium, book or treatise”. The word śastra is used in the context of Indian literature, for any department of knowledge or science, in a defined area of practice. Bharata in ''Nāṭyaśāstra'' describes the performing art in the form that was in practice in his times''. Nāṭyaśāstra'' deals with diverse themes associated with Indian Dramaturgy. Besides theatre, ''Nāṭyaśāstra'' also lays down guidelines to stagecraft, dance and music, poetry. ''Nāṭyaśāstra'' elucidates the practical aspects of drama without giving much emphasis on its philosophical or theoretical aspect. This mode of communication is called ''Kantā sammita''.

The scope of drama lies in the following verse where Bharata says:

'''''Na tajnanām na tacilpam na sā vidyā na sā kalā'''''

'''''Nāsau yōgō na tatkarma nātyesmin yanna driśyate'''''

(Nāṭyaśāstra, Chapter 1, verse 116)

There is no wise maxim, no learning, no art or craft, no device, no action that is not found in the drama.

The treatise begins with an invocation to Lord ''Brahma'' and Lord ''Śiva'' in the ''mangala śloka''. Though the author has overlooked Lord ''Vishnu'' in the ''mangala śloka'', he cites Him as the originator of ''Kaiśiki Vritti''. Further, the great rishis like ''Ātreya'' and others approach Sage ''Bharata'' who was well versed in ''Naṭya'' and pose five questions about the origin of ''Naṭya''. The answers to the questions form an elaborate dialogue between Bharata and other sages led by Sage ''Ātreya''. Sage ''Bharata'' elucidates the theatrical aspects and its application in the form of six thousand verses (5569 to be precise)[1] in 36 chapters.

The first chapter ''Naṭyotpatti'' involves the narration of the story where at the onset of ''Tretayuga'' when the people were governed by ''Ariṣaḍvarga'' or the six enemies of the mind, Devas lead by ''Mahendra (Indra)'' as their leader approached ''Brahma'' requesting him to provide them with an entertainment medium which is both audible and visible and that which can be experienced by all classes of people including Shudras.
According to ''Brhadaaranyaka Upanishad''[2] (Chapter 1, Brahmana 4, Verse 13)

'''''Sa naiva vyabhavat sa śaudram varnamasrujat pūṣaṇami; iyam vai pūśā, iyam hēdam sarvam puśyanti yadidam kiṁcha'''''
He (brahmana / brahman) did not still flourish - He projected the Sudra - as ''Pūshan'' (as nourisher). This earth verily is ''Pūshan'' (the nourisher); for the earth nourishes all this whatsoever.

Hence, besides being a class that provides food through agriculture, ''shūdra'' is also understood as the class which supports the other three classes of people (providing services to other classes itself is his job / ''karmavritti'').

Then Brahma in his meditative state recalls the four Vedas, compiles them and creates the fifth Veda which has ''itihāsa'' (historical tales), which conduces to duty / ''dharma'', wealth or ''artha'', as well as fame, which contains good counsel and collection of maxims, and gives guidance to all future generation in all their actions. They would be enriched by the knowledge of all Shastras (authoritative works) which gave reviews of all arts and crafts (śilpa)”.

According to ''Panini’''s ''Aṣtādhyāyi'' the word ''śilpa'' mentioned here is not restricted to the handcrafted – metal – idol making skills but includes music, dance and theatre. It includes sixty our art forms / all kinds of artform.[3]. The ''Kaushitaki Bhramana'' includes vocal music, dance and musical instruments in its fold. ''Ramayana, Mahabharata and Kamasutra'' also include other forms while mentioning its scope. Further in this period all the artforms integrated in drama[4].

''Naṭyaveda'' thus created consisted of ''Paṭya'' - the text taken from ''Ṛgveda, geeta'' - music from ''Sāmaveda'', ''Abhinaya'' – histrionic representation from ''Yajurveda'' and ''Rasa'' - aesthetic experience from ''Atharvaṇaveda. Ṛgveda Samhita'' is in the form of hymns which forms the basis for any composition. All the features of classical poetry also can be traced to the ''Ṛgveda''. The ''Sāmaveda'' is the Veda of melodies and chants. ''Yajurveda'' is a compilation of ritual-offering formulas that were said by a priest while an individual performed ritual actions such as those before the sacrificial fire (Yagna). Both the priest and the performer employ hand gestures. ''Atharvaṇaveda'' is the ''Veda'' which is related to both worldly happiness and spiritual knowledge. It is a ''Veda'' of varied knowledge. Hence it is filled with lots of emotions / bhava and life energy / rasa.

This fifth ''Veda'' was then passed on by ''Brahma'' to ''Indra'' who in turn passes it on to Sage ''Bharata'' as the ''Nāṭyaveda'' could be brought into practice only by those who are able to receive, sustain, become acquainted with and practice (inured to hard work). These are also the criteria for a ''Naṭa'' (actor / dancer) who follows the tradition to this day. On ''Brahma''’s instructions ''Bharata'' learnt ''Nāṭyaveda'' from Him and taught his 100 sons the application of the same.

On a close analysis we find that 104 names are mentioned which include the names of ''Ṛshis, Rākṣasās,'' gods, ''gaṇās'', names of ''Rasas'' (eg. ''Bheebhatsa, Veera'' etc) and authors (''Kohala, Dattila'' etc)[5]. This also indicates that the art permeated across all classes of people.

''Bharata'' then assigned various roles to his sons and adopted ''Vrittis'' (dramatic styles) – ''Ārabhaṭi'' (energetic), ''Bhārati'' (verbal) and ''Sātvati'' (representation of the temperament) to perform. Further on Brahmas instructions ''Kaiśiki'' (graceful) was introduced which led to the creation of twenty four ''Apsaras'' or celestial nymphs.

The etymology of ''Apsara'' is अद्भ्यः सरन्ति उद्गच्छन्ति, सृ-असुन् i.e.,"moving in the waters or between the waters of the clouds"[6].

Apsaras are the epitome of grace and hence it is expected of a dancer to be as graceful as the creatures in the water which is swift / agile.[7]

Bharata then presented the play in the festival (''Indradhwaja mahōtsava'') in honour of ''Indra''’s victory over ''dānavas''. This play was an imitation of the situation in which ''daitya''s were defeated by Gods. The Gods were filled with joy and presented him with various rewards (which are used as props in the theatre[8]). One such example is the ''Kuṭilaka'' – a crooked staff presented by Lord Brahma which is used by the ''sūtradhāra'' in dance dramas even to this day in Yakshagana and Bhagavatamelanataka. The instigated malevolent spirits at once paralysed the speech and movement of the actors with their magical powers. ''Indra'' ascertaining the cause of this, punished the ''asurās'' with his ''vajrāyudha.'' This act of smashing the asuras to pulp with the weapon is known as Jarjara and hence the weapon gets its name ….

Acording to the ''Nāṭyaśāstra'' Chapter 1, Verses 73-75, “The jealous Vighnas too who may come to do violence to actors will go away on seeing the Jarjara.” The offering of ''pūjā'' to the Jarjara should commence after the worshipping of the various gods and the various musical instruments (''kutapa'').

According to the ''Nāṭyaśāstra'' Chapter 1, Verse 11-13, the ''nāṭyācārya'' (master of the dramatic art) should offer ''pūjā'' to the Jarjara for attaining good success at the performance, and pray to it as follows “Thou art Indra’s weapon killing all the demons; thou hast been fashioned by all the gods, and thou art capable of destroying all the obstacles; bring victory to the king and defeat to his enemies, welfare to cows and Brahmins, and progress to dramatic undertakings”.

Performing the Jarjara ceremony (preliminary) pleases the leaders of Vighnas, according to ''Nāṭyaśāstra'' Chapter 1, Verse 57-58, “The performance of the Preliminaries which means worshipping (''pūjā'') the gods (''devas''), is praised by them (''i.e''., gods) and is conducive to duty, fame and long life. And this performance whether with or without songs, is meant for pleasing the Daityas and the Dānavas as well as the gods.”

Then Lord ''Brahma'' instructed ''Viśvakarma'' to build a playhouse (Theatre space) and with the help of other gods the playhouse was protected. Gods became guardians of various parts of the playhouse. Meanwhile ''Brahma'' also pacifies the ''vighnās'' by explaining the characteristics of drama saying that in drama there is no exclusive representation of either gods or demons. It is a representation of the states (''bhavaanukeertana'') of the three worlds. There are references to money, duty, laughter, fight etc. It is a mimicry of actions and conduct of people. It addresses various departments of arts, knowledge and action etc.

The chapter concludes with ''Bharata'' elucidating the importance of performing pooja to the ''Ranga devatas'' deities of theatre / playhouse.

----[1] (99+) Bharata's Nāṭyaśāstra | Shruti Das - Academia.edu

[2] Brihadaranyaka Upanishad - Shankara Bhashya translated by Swami Madhavananda : Swami Madhavananda : Free Download, Borrow, and Streaming : Internet Archive

[3] Devaālaya śilpagala Nāṭyamānyate, Dr B N Manorama, page 3, (2023) Published by [https://www.noopurabhramari.com/want-to-subscribe-noopura-bhramari-and-purchase-the-dance-books/ Noopura Bhramari] IKS Centre.

[4] Devaālaya śilpagala Nāṭyamānyate, Dr B N Manorama, page 4

[5] Oral documentation (in Śāstra Ranga Programme) from the classes by Dr Manorama B N

[6] Sanskrit Dictionary

[7] Oral documentation - Dr Manorama B N

[8] Natyashastra Kathana Malike series authored Dr Manorama B N, published at [[Noopurabhramari.com/natyashastra-kathanamalika-part-1/|Noopura Bhramari]]

Origin of Theatre - Revision history

Manorama: Author name in below of the page

Manorama: Few Citations improved with transliteration marks adopted.

Manorama: Links

Manorama: Freshly uplaoded the page