Sanskrit Play Production in Ancient IndiaSanskrit Play Production in Ancient India moves through three levels of understanding: (1) What the components of the traditional Natya Production are as described in Natyasastra and other ancient Indian dramaturgical works; how they are interrelated and how they are employed in the staging of Rasa-oriented sanskrit plays?Probing deep into the immense reaches of time to India`s archaic past the author pieces together a fascinatingly intricate design of play production down to the units and subunits of expression and executive. |
Contents
| 1 | |
SiddhiSpectatorPerformerRapport | 23 |
RangaThe Playhouse | 37 |
PART | 71 |
Rasa BhāvaEssence of Sanskrit Dramas | 109 |
PART THREE | 129 |
199 | 140 |
73 | 147 |
PART FOUR | 251 |
In South East Asia China Japan | 285 |
VISUALISATIONS | 299 |
Visakhadatta Mudrārākṣasa VII | 347 |
Prahasana | 364 |
Tasks Before a Modern Producer | 401 |
Appendix | 411 |
| 429 | |
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Common terms and phrases
Abhinavagupta abhinaya actor āhārya Ajanta Ajanta Cave ancient Indian ancient Sanskrit angika Artha audience basic Bharata Bhāsa bhāva Bhavai century A.D. characters chariot colour conventions costumes curtain dance depicted dhoti door downstage drama troupe dramatis personae dressing room drums enacted entry erotic rasa female gait genre gestures Ghosh hand hero heroine Ibid indicate jāti javanikā jester kāma Kathakali Kerala king Kuchipudi Kudiyattam kutapa lokadharmi Mahābhārata Mālavikāgnimitram mizhavu movements musical orchestra Nāṭaka natya natyadharmi Nāṭyaśāstra performance pillars playhouses playwrights plot practices Prakrit presentation Rākṣasa Rāma rasa rasa-s recited regional modes rituals Sandhi Sanskrit dramas Sanskrit play production Sanskrit play-texts Sanskrit theatre sattva sättvika scenes seat sequence spectator speech Śri stage directions style stylised suggested sung sūtradhāra tāla techniques tempo texts traditional types upper garment Urvasi vācika verse viņā visualised vița vithi walk words Yakshagana zonal division zone
Popular passages
Page vii - The sheer enormity and diversity of its cultural expressions in music, dance, dance/drama and theatre are the envy of many nations around the world. This series intends to assemble some of the best books now available on these subjects. Without exaggeration, a series such as this would not have been possible twenty years ago when I first began writing about Indian theatre. At that time little more than a few dozen books comprised the entire field of scholarship in the English language, not to mention...
Page vii - ... about Indian theatre. At that time little more than a few dozen books comprised the entire field of scholarship in the English language, not to mention the paucity of materials in regional Indian languages. Today that picture has radically changed. Numerous publishers have devoted precious press time to volumes of well-illustrated, detailed and, yes, sometimes even esoteric works on the multiple aspects of this fascinating subject Comb any bookshop in Delhi or Madras, Bombay or Calcutta and you...
Page vii - ... world. This series intends to assemble some of the best books now available on these subjects. Without exaggeration, a series such as this would not have been possible twenty years ago when I first began writing about Indian theatre. At that time little more than a few dozen books comprised the entire field of scholarship in the English language, not to mention the paucity of materials in regional Indian languages. Today that picture has radically changed. Numerous publishers have devoted precious...