THE HISTORY OF INDIAN Classical DRAMA BHARATA'S NATYASHASTRA.
INTRODUCTION:
Natyashastra
has been given the status of the Fifth (5th) Veda. It contain the
ancient Indian treaties on the performing arts that is theatre, music and
dance. This book was written in the form of dialogues between sage Bharata and other sages. It was
compiled between 200 BC and 200 AD. It contain 36,000 shlokas in verse style.
There are total 36 chapter in it. There is generally misconception that drama,
theatre and music are western gifts to India. Still it is a matter of discussion
for scholars that whether Bharata Muni is the writer or compiler of the Natyashastra.
ABOUT THE AUTHOR:
There is not
much information about the author of Natyashastra. Many scholars believe that
the author of Natyashastra is Rishi Bharata.
SUMMARY (NOTES) OF NATYASHATRA:
Natyashastra is composed of two
word, “Natya” which means “act” and “Shastra” which means “rule
or treaties”. The Natyashastra is ancient Indian treaties on the performing
arts encompasses theatre, music and dance. It is considered as the fifth Veda
and the most famous works of Sanskrit language. It was written in the forms of
dialogue between the sage Bharata and other sages. Its first complete
compilation is dated to between 200 BC and 200 AD. The book consist of 36 chapters and 6000
verses in it. The subjects are covered by treaties include dramatic
composition, structure of play and construction of stage, genres of acting,
make up, body language, director, music etc. Natyashastra is based upon the much older Gandhrava
Veda.
It is believed that he collected
different knowledge, wisdom and experience from the four Veda and compiled it
into one book named Natyashastra. The four Vedas are:-
1. Rig-Veda
2. Yajur-Veda
3. Sama-Veda
4. Atharva-Veda
Rig Veda is the oldest Veda. The
word Bharata has its own meaning and expresses three thing-
1. BHA:
bhava (bhao)
2. RA: rasa
3. TA:
taal
TYPE OF RASA:
RASA | REPRESENTED GOD | ||
1
|
Shringar Rasa
|
Lord Vishnu
|
Delight
|
2
|
Hasya Rasa
|
Goddess Pramata
|
Laugh
|
3
|
Karuna Rasa
|
Lord Yama
|
Sorrow
|
4
|
Raudra Rasa
|
Rudra
|
Anger
|
5
|
Veera Rasa
|
Mahendra
|
Heroism
|
6
|
Bhayanka Rasa
|
Kala
|
Fear
|
7
|
Vibhasta Rasa
|
Lord Shiva
|
Disgust
|
8
|
Adbhuta Rasa
|
Lord Brahma
|
Wonder
|
The Natyashastra consist of four
element i.e. text taken from the Rig-Veda, songs from the Sama-Veda, acting
from the Yajur-Veda and rasa or aesthetic experience from the Atharva-Veda.
The (1) first chapter of
Natyashastra tell about the response and involvement of the spectator in the
drama. The (2) second chapter describe the method of building different type of
stage. The (3) third chapter he talked about the religious ceremony to be
performed in the auditorium ( an elaborated puja of god and goddess ). The (4)
forth chapter being with the story of Amritamanthama, i.e., ‘churning
of the Nectar’, a Samavakara performed
according to Brahma’s instructions
on the peak of Kailasa, witnessed by Lord Shiva.
Various aspect related to dance and music have
discussed at length in the fourth (4) and fifth (5) chapter. Here is some name
of Indian Classical dance:
1. Bharatanatyam:
Tamil Classical Dance
2. Odissi:
Odisha Classical Dance
3. Kuchipudi:
Telegu Classical Dance
4. Manipuri:
Manipur Classical Dance
5. Mohiniaattam:
Kerala Classical Dance
6. Sattriya:
Assamese Classical Dance
7. Kathakali:
Kerala Classical Dance
8. Kathak:
North Indian Classical Dance
The only two dance style that have
their origin in Bharata’s Natyashastra are Bharatanatyam and Odissi.
In the sixth (6) Bharata Muni has given special emphasis on “rasas” and
discuss about the nature of rasas.in this chapter he talked about the process
by which different type of rasas are generated. According to Bharata Muni there
are eight type of rasa:
Shringar Rasa
|
Hasya Rasa
|
Karuna Rasa
|
Raudra Rasa
|
Veera Rasa
|
Bhayanka
Rasa
|
Vibhasta Rasa
|
Adbhuta Rasa |
In the seventh (7) chapter of Natyashastra
a detail description of Bhavas, Vibhavas, Anubhavas and Vyabhichar
has been given. Bharata Muni talks about the requirement of these bhava for the
generation of Rasa. In chapter eighth (8) to thirteenth (13) Bharata Muni
explains about the physical and spoken presentation on the stage which is very
initial for generation of various kind of rasas. Pure acting is a major
requirement for effective generation of Rasas.
In the fourteenth (14) chapter
Bharata Muni shows how scenery is to be set on the stage. Further Bharata Muni
classifies drama in twentieth (20) chapter.in the 21th chapter different
ingredients have been talked about by Bharata Muni. In the 22nd
chapter Bharata Muni highlights the distinct feature of four style of acting.
These styles were;
1. Eloquent
2. Glamorous
Style
3. The
Great Style
4. The
Vigorous Style
In the 23rd chapter deals
with male qualities and patterns of sexual behaviour as well as classification
and stage feminine youth. Chapter 24th chapter counts the type of
characters in Sanskrit drama. Chapter 25th deals with picture
acting, defines the specific way of expressing different states and objects,
and the use gesture, posture, gaits, walking and theatrical agreements. 26th
chapter presents the principles of makeup and nature of dramatic image.
The further chapters 27th
to 30th deals with music, songs and instruments. Chapter 31st
deals with cymbals, tala, rhythm and musical cycles. Chapter 32nd explaining
dhniva songs. Chapter 33rd tilts the qualities of instrumentalists
and vocalist. Chapter 34th relates the origin and nature of drums.
In the 35th and 36th chapter, Bharata Muni shows how to
assign different roles to actor and actress.
thanks informative article
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