Traces of Nāṭyaśāstra in Aṅkiā Nāṭa

Aṅkiā 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 (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 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.

Interior of Garmur Sattra, Majuli- Courtesy - https://majuliriverisland.wordpress.com/garmur-satra-majuli-island/

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 69^th 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. 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 ||

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.

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, 2^nd śloka,

ye nepathyagṛhadvāre mayā pūrvaṁ prakīrtite |

tayorbḥaṇḍasya vinyāso madhye kāryāḥ prayoktṛbhiḥ ||

Manmohan Ghosh translates this to, “The producer should arrange the drums between the two doors of the tiring room, which I have described before.”

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.

Performance in progress- Ankiā nāṭā. Courtesy - https://www.youtube.com/watch?v=fclytPcNTCM

Dhemali in progress.- Ankiā Nāṭa

Next section is called Dhemāli 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 - 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. 23^rd śloka of Pūrvaraṅgavidhi of Nāṭyaśāstra says,

Yasmācca lokapālānāṁ parivṛtya caturdiśaṁ |

vaṅdanāni prakurvaṅti tasmācca parivartanam ||

“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].”

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 ||

“The Benediction is so called because it must always include [and invoke] the blessing of gods, Brahmins and kings.”

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. 29^th śloka of Pūrvaraṅgavidhi says,

Upakṣepeṇa kāvyasya hetuyuktisamāṣryā |

Siddhenāmantraṇā yā tu vijñeyā sā prarocanā || 

“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).”

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 ||

“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).”

Sūtradhāra of Ankiā Nāṭā

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 ||”

“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”.

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 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.

Stages of mask making

Masks of Pūtanī, Vāli, Sugrīva (worn by the author), Horse-demon Keśa, Mohini, Garuḍa

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 (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. https://youtu.be/fclytPcNTCM

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

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 'Traces of Nāṭyaśāstra in Aṅkiā Nāṭa'[1]–, As a part of Śāstra ranga Internship programme.