Manorama: Created page with "''Aṅkiā''Same as ''Aṅka'' of Saṁkṛta; an act of a play ''Nāṭa'' literally means one-act play; also known by the name ''Aṅkia Bhāona'' is a traditional theatre form of Assam. Saint scholar ''Śrīmanta'' ''Śaṅkaradeva'' is credited with the formation of this theatre form, he also established the ''Sattra-s''similar to the ''Kūtambalaṁ'' (traditional theatre space associated with temples) of Kerala (''Vaiśnava'' monasteries) for..."

2023-09-29T05:48:55Z

Created page with "''Aṅkiā''<ref>Same as ''Aṅka'' of Saṁkṛta; an act of a play</ref> ''Nāṭa'' literally means one-act play; also known by the name ''Aṅkia Bhāona'' is a traditional theatre form of Assam. Saint scholar ''Śrīmanta'' ''Śaṅkaradeva'' is credited with the formation of this theatre form, he also established the ''Sattra-s''<ref>similar to the ''Kūtambalaṁ'' (traditional theatre space associated with temples) of Kerala</ref> (''Vaiśnava'' monasteries) for..."

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''Aṅkiā''<ref>Same as ''Aṅka'' of Saṁkṛta; an act of a play</ref> ''Nāṭa'' literally means one-act play; also known by the name ''Aṅkia Bhāona'' is a traditional theatre form of Assam. Saint scholar ''Śrīmanta'' ''Śaṅkaradeva'' is credited with the formation of this theatre form, he also established the ''Sattra-s''<ref>similar to the ''Kūtambalaṁ'' (traditional theatre space associated with temples) of Kerala</ref> (''Vaiśnava'' monasteries) for religious assemblies to popularize this art form. ''Sattra-s'' played an important role in preserving and promoting this theatre form by providing a platform for artistic expression, ritualistic dance drama to the presiding deity; right from the 15-16th CE to even this day.

== '''Structure of ''Sattra''''' ==
In the complex of ''Sattra'' is the ''Nāmghara'' (prayer hall), ''Maṇikūṭa'' (''Garbhagṛha/''Sanctum sanctorum of the presiding deity) and the ''Hātis'' (where the priests and their families live). ''Nāmghara'' is the space where the training and the performance of the drama takes place; also known by the name ''Bhāona ghar'' (literally meaning, that which facilitates artistic expressions). The structure of ''Nāmghara'' is canonical from the outside just like a cave as sage ''Bharata'' says, '''''śailaguhākāro dvibhūmirnāṭyamaṇḍapaḥ'''''<ref>Śloka 80, Chapter 2, Naṭyaśāstra</ref> which means that the playhouse must be made like a cave or mountain cavern in the ''Prekśāgṛhalakṣaṅaṁ'' (features of a playhouse) of ''Nāṭyaśāstra''.

Underside of the roof of the ''Nāmghar'' is painted with scenes from ''Purāṇa-s'' and ''Ithihāsa-s''.
[[File:Garmur Sattra.jpg|alt=Ankiā Nāṭa stage|thumb|''Interior of Garmur Sattra, Majuli- Courtesy - <nowiki>https://majuliriverisland.wordpress.com/garmur-satra-majuli-island/</nowiki>'']]
Pillars support the roof of the ''Nāmghara'' and a temporary greenroom (''Nepathya'') is prepared in case of any performance planned. The actors enter the performing space through the two curtain outlets of the make-shift ''Nepathya''. This arrangement is in-line with the 69th śloka of ''Prekśāgṛhalakṣaṅaṁ'' which states that '''''dvāradvayaṁ cātra naipathyagṛhakasya''''' - meaning the tiring room should have two doors. The musicians are seated in front of this curtain facing the ''Manikuta'' (far end of the ''Nāmghara''). Performance happens between the ''Manikuta'' and the ensembled musicians. There is clear demarcation between the music ensemble and the performing space. The architecture of ''Nāmghara'' (interchangeable with ''Sattra'') resembles the ''Vikṛṣṭa'' (oblong) type of playhouse stated by ''Viśvakarma'' in ''Nāṭyaśāstra''. ''Abhinavagupta'' who wrote commentary to ''Nāṭyaśāstra'' defines ''Vikṛṣṭa'' as ''vibhāgena kṛṣto dīrgho na tu catusṛṣu dikṣu sāṁyena.''<ref>Śloka 8, Chapter 2, Nāṭyaśāstra</ref> In this context, ''Vikṛṣṭa'' means extended, drawn apart, protracted.

== '''Performance''' ==
The musicians enter the performance area (stage) with a white curtain held in their front and with lamps held using bamboo stick by two people. On entering the stage, the musicians (vocal, percussion, cymbal, harmonium player and flutist) taking their respective seats is ''Pratyahāra'' and ''Avatarana'' of ''Pūrvaraṅga'' ''vidhi'' of ''Nāṭyaśāstra'' (the former is arrangement of musical instruments and the latter is musicians taking their respective seats.) The ''śloka'' pertaining to these preliminaries are as below:

'''''Kutapasya tu vinyāsahaḥ pratyāhāra iti sammatahaḥ |'''''

'''''Tathāvataraṇaṁ prokta gāyikānāṁ niveśanaṁ ||'''''<ref>Śloka 17, Chapter 5, ''NāṭyaŚāstra.''</ref>

This translates to Arranging of the musical instruments (''kutupa) is called Pratyahāra.''

The seating of singers is called the ''Avataraṇa'' (lit. coming down)''”'' as per Dr. Manmohan Ghosh.<ref>Pg. 78, Chapter 5</ref>

In a ''Sattra'', the musicians are seated in the backend-centre of the performance area; in front of the ''Nepathya'' screen and the play happens in front of them. This is similar to the position of the drums on the stage mentioned in ''Nāṭyaśāstra,'' chapter 14, 2nd śloka,

'''''ye'' ''nepathyagṛhadvāre'' ''mayā pūrvaṁ prakīrtite |'''''

'''''tayorbḥaṇḍasya vinyāso madhye kāryāḥ prayoktṛbhiḥ ||'''''<ref>https://archive.org/details/BharatMunisNatyaShastraIIIParasNathDwivedi/page/n179/mode/2up?view=theater</ref>

Manmohan Ghosh translates this to'', “The producer should arrange the drums between the two doors of the tiring room, which I have described before.”''<ref>Pg 242, Chapter 14</ref>

A pictorial representation of the arrangement for ''Aṅkiā Nāṭa'' performance is given below:

Ø ''Nepathya'' is the green room.

Ø Entry/exit of the actors/characters happen through the curtain-doors of ''Nepathya'' to the stage.

Ø ''Kutupa''/musical instruments and musicians are placed between the doors of the greenroom.

Ø ''Raṅgaśīrṣa'' is the main stage area; performance arena.
[[File:AN performance.png|alt=Ankiā nāṭā|thumb|''Performance in progress- Ankiā nāṭā. Courtesy -'' https://www.youtube.com/watch?v=fclytPcNTCM]]
[[File:Demali.png|alt=Ankiā nāṭā|thumb|''Dhemali in progress.- Ankiā Nāṭa''<ref>https://www.google.com/imgres?imgurl=https%3A%2F%2Fnarthaki.com%2Finfo%2Fgtsk%2Fimages%2Fgtsk62b.jpg&tbnid=eIYugOBwLzqYTM&vet=12ahUKEwjh75vC1Zj-AhW_-HMBHdrQBvcQMyghegUIARDlAQ..i&imgrefurl=https%3A%2F%2Fnarthaki.com%2Finfo%2Fgtsk%2Fgtsk62.html&docid=0WlT80MLtLl0KM&w=600&h=338&itg=1&q=ankiya%20nat&ved=2ahUKEwjh75vC1Zj-AhW_-HMBHdrQBvcQMyghegUIARDlAQ</ref>]]
Next section is called ''Dhemāli''<ref>Equivalent to Pūrvaraṅga/ preliminaries of a play</ref> where percussion instrument ''Khol'' and cymbal players play their respective instruments while walking round the stage (''Brahma maṅḍala'') and perform a dance sequence which starts off in slow pace and gradually picks up speed. This is a ''Nṛtta'' (Pure dance) sequence as part of the preliminary of the play; can be considered as ''Citra Pūrvaraṅga''<ref>''Citra Pūrvaraṅga'' involves continuous bodily movements (''Aṅgahāra-''s) according to the ''Tānḍava Lakśhana'' Chapter of ''Nāṭyaśāstra''</ref> - dance sequence involving energetic, acrobatic movements with hand gestures and foot work.

With the musicians shouting ''Jai Jai'', ''Sūtradhāra'' enters with a white curtain held against him. The ''Sūtradhāra'' is cladded in white and is the actor-director of an ''Aṅkiā Nāṭa'' performance. This is the first ''Pātra Praveśa'' in the performance. He commences with a dance sequence by bowing down to mother earth, continues by uttering ''‘Hari Bolo’'' as he circumambulates the ''Brahma maṅḍala'' (centre stage). This can be considered as ''Parivartana'' (walking around) of ''Pūrvaraṅga vidhi'' as he pays obeisance to the Gods in all directions before the commencement of the drama through ''Nṛtta''. 23rd śloka of ''Pūrvaraṅgavidhi'' of ''Nāṭyaśāstra says,''

'''''Yasmācca lokapālānāṁ parivṛtya caturdiśaṁ |'''''

'''''vaṅdanāni prakurvaṅti tasmācca parivartanam''' ||''<ref>Śloka 23, Chapter 5, ''Nāṭyaśāstra''</ref>

''“The Walking-round (parivartana) is so styled because in it, the guardian deities of different worlds are praised [by the Director] walking all over [the stage].”''<ref>Pg.79, Chapter 5, ''Nāṭyaśāstra''</ref>

''Sūtradhāra'' then says ''‘Pratham Ślok’'' and the verses invoking the blessing of Gods is sung and danced for. ''Nāndī'' (Benediction) is observed here. This is sung in ''Saṁskṛta''. ''Nāndī'' as per ''Nāṭyaśāstra is,''

'''''Āṣīrvacanasaṁyuktā nityaṁ yasmātprayujyate |'''''

'''''Devadvijanṛpādīnāṁ tasmānnāndīti sajñitā ||'''''<ref>Śloka 24, Chapter 5, ''Nāṭyaśāstra''</ref>

''“The Benediction is so called because it must always include [and invoke] the blessing of gods, Brahmins and kings.”''<ref>Pg.79, Chapter 5</ref>

After ''Nāndī'', the ''Sūtradhāra'' welcomes and introduces the topic to the audience in the local dialect. The description of the protagonist is given here. ''Prarocana'' (Laudation) of ''Bhāratī Vṛtti'' (Verbal style) can be noted here. 29th ''śloka'' of ''Pūrvaraṅgavidhi'' says,

'''''Upakṣepeṇa kāvyasya hetuyuktisamāṣryā |'''''

'''''Siddhenāmantraṇā yā tu vijñeyā sā prarocanā ||''' ''<ref>Śloka 29, Chapter 5, ''Nāṭyaśāstra''</ref>

''“An appeal with a view to success which is made [by the Director] after suggesting the action (kārya) of the play in hand with [proper] reasoning and arguments is called the Laudation (prarocanā).”''<ref>Pg. 80, Chapter 5</ref>

This is followed by a song called ''Bhātima'' which hints the main characters in the drama (Eg: ''Rāma/Krṣṇa/Rukmini''). The author (mostly ''Śaṅkaradeva'') is mentioned along with the name of the drama (Eg: ''Rukmiṇi haraṇa'', ''Patnī prasāda, etc''). ''Prasthāvana'' (Prologue) of ''Bhāratī Vṛtti'' is seen here. ''Śloka'' for ''Prastāvana'' as per ''Nāṭyaśāstra is,''

'''''Prastāvanāṁ tataḥ kuryātkāvyaprakhyāpanāṣrayāṁ |'''''

'''''Uddhātyakādi kartavyaṁ kāvyopakṣepaṇāṣrayam ||'''''<ref>Śloka 163, Chapter 5, ''Nāṭyaśāstra''</ref>

''“After thus pleasing the spectators (lit. the stage) he should announce the name of the play-wright (lit. the poet), and then he is to start the Prologue (prastāvanā) which relates to proclaiming the theme of the play (lit. the poem).”''<ref>Pg. 98, Chapter 5</ref>
[[File:Sutradhar AN.png|alt=Ankiā nāṭā|thumb|''Sūtradhāra of Ankiā Nāṭā''<ref>https://www.indianetzone.com/18/the_ankiya_nat_assam.htm</ref>]]
After this, the ''Sūtradhāra'' joins the ensemble; bows down to the stage, keeping the stage open for the actors.

Next enter the main characters of the play, with a special song for their entry ''Praveśa gīta''. The lead actors are again hidden behind the white curtain. The rhythm of the drum changes to make the audience aware of the entry of main characters on stage. This can be equated to the entry of main characters as per sage ''Bharata'' with ''Dhruvā'' songs accompanied by a change in the rhythm in the ''Bhāṇḍavādya'' (drums). The entry of the actors as described in ''Nāṭyaśāstra'' is,

'''''“Tatropavahaṁ kṛtvā bhāṇḍavādyapuraskṛtaṁ |'''''

'''''Yathāmārgarasopetaṁ prakṛtīnāṁ praveśne ||'''''

'''''Dhruvāyāṁ saṁprayuktāyāṁ paṭe caivāpkarṣite |'''''

'''''Kāryaḥ praveśaḥ pātrānāṁ nānārtharasasaṁbhavaḥ |'''|''<ref>Śloka 2-3, chapter 12, ''Nāṭyaśāstra''</ref>''”''

''“After the Overture (Upavahana) with drums and other musical instruments has been performed by observing Dhruvās [to be sung] at the entrance of dramatis personae, have commenced, and the curtain has been drawn away, the actors who are to develop Sentiments in the various items [of a play] should enter (lit. be made to enter) the stage”.''<ref>Pg. 216, chapter 13</ref>

== '''''Āhāryābhianaya'' ( Costumes and Makeup)''' ==
''Āhāryābhianaya'' of ''Aṅkiā Nāṭa'' uses props like bow-arrow for ''Rāma'', sword for ''Rāvaṇa. Sudarśana cakra'' for ''Kṛṣṇa''. Flowers are also used for the drama ''Pārijāta haraṇa''. Villains and special characters like ''Garuḍa'', ''Vāli'', ''Mohini'' etc use masks ''(Mukha)'' made of bamboo, clay and hay. Masks vary from small to life-size and enhances the visual aspects of the drama. Mask-making is very different from what is mentioned in ''Nāṭyaśāstra;'' nevertheless'','' use of weapons (using props) and masks are encouraged in ''Nāṭyaśāstra.''

In the author’s visit to the mask making ''Sattra'' in Majuli - Assam, she was fortunate to have met Sri Hem Chandra Goswami<ref>Sangeet Natak Academy winner for mask making</ref> and his younger brother. She learnt that the masks developed off-late have movable jaws to facilitate better breathing and dialogue delivery of the actors.
[[File:MaskMakingStages.jpg|alt=Ankiā nāṭā masks|thumb|''Stages of mask making'']]
[[File:Seema SugrivaMask.jpg|alt=Ankiā nāṭā masks|thumb|''Masks of'' ''Pūtanī, Vāli, Sugrīva (worn by the author), Horse-demon Keśa, Mohini, Garuḍa'']]
[[File:SamaguriSattra.jpg|alt=Ankiā nāṭā masks making place|thumb|''Near mask making Sattra/Samaguri Sattra, Majuli'']]

== '''Conclusion''' ==
To sum up, traces of ''Naṭyaśāstra'' are seen in this theatre form which was developed during the ''Neo-Vaisnavism'' period to promote ''Viśṇu Bhakti'' among commoners by ''Śaṅkaradeva'' and his successors. ''Aṅkiā Nāṭa'' and ''Sattra-s'', have been the sources for the origin of ''desi'' dance form ''Sattriya'' of Assam. Thus, one can understand and witness even today, the extent of practical application of ''Naṭyaśāstra'' by the remote north-east artists belonging to tribal communities of India without having read about any of the ''śastrā-s!''

Structure/ground-plan of ''Sattra-s'' of Assam resemble the ''Kuṭṭambalam-s'' of Kerala. Both these temple-complexes associated with a deity for worship have been instrumental in preserving the ''nāṭya'' forms, ''Aṅkiā Nāṭa'' and ''Kuṭṭiyāṭṭaṁ ([https://www.noopurabhramari.com/purvarangavidhi-of-natyashastra-as-seen-in-kutiyattam/ Kūḍiyāṭṭaṁ])'' respectively.

Isn’t it fascinating to know that traces of ''Naṭyaśāstra'' can be seen across all Indian theatre forms and is never outdated even to this day!? Such is the vastness of this ''śastrā!'' Such is the relevence of ''Naṭyaśāstra.''

'''References:'''

1. Vatsyayan, Kapila. ''Traditional Indian Theatre : Multiple Streams.'' NATIONAL BOOK TRUST, INDIA. ''2007''

2. Youtube video. <nowiki>https://youtu.be/fclytPcNTCM</nowiki>

3. Youtube video. <nowiki>https://www.youtube.com/watch?v=0U4vrQYAGfY</nowiki>

4. Nagar, R.S. ''NĀṬYAŚĀSTRA OF BHARATAMUNI''. PARIMAL PUBLICATIONS DELHI, 2012.

5. Ghosh, Manmohan. ''Nāṭyaśāstra''. Chowkhamba Sanskrit Series Office Varanasi, 2012.

6. Personal interview. Sri Hem Chandra Goswami and his younger brother. December 2022.

7. Guidance of ''Nāṭyaśastra''- from the internship programme ''Śāstra Ranga'' conducted by ''Noopura Bhramari'' IKS Centre, under the leadership of Dr Manorama B N.

'''Authored by - Seema K S, Bengaluru; ; Published by Noopura Bhramari IKS Centre- titled as '<nowiki/>''Traces of Nāṭyaśāstra in Aṅkiā Nāṭa'[https://www.noopurabhramari.com/traces-of-natyashastra-in-ankiaa-naata/]''–, As a part of ''Śāstra ranga'' Internship programme.'''

Traces of Nāṭyaśāstra in Aṅkiā Nāṭa - Revision history