The document discusses different modes of presentation in drama according to Natyashastra, including vritti, pravrtti, and dharmi. It explains that vritti refers to the emotional style and atmosphere conveyed, with four main types mentioned. Pravrtti involves regional customs and languages. Dharmi includes lokadharmi focused on realistic representation and natyadharmi using dramatic conventions. Directors must consider these modes to appropriately present plays based on their content and appeal to different audiences.
The document discusses Indian aesthetics and art theory. It provides an overview of key concepts in Indian aesthetics including rasa (aesthetic experience/essence), the navarasas (nine basic emotions), and the theories of Bharata in the Natyashastra. It describes how vibhavas, anubhavas, and vyabhichari bhavas combine to produce rasa. It also discusses Indian aestheticians like Abhinavagupta and artists like M.F. Hussain. Criticisms of Indian aesthetics note its narrow focus on emotion and pleasure rather than other artistic aims.
This document discusses the theory and technique of ancient Indian stage dramas. It notes that the Natya Shastra describes ten classifications of dramas, including the main Rupaka form and minor Uparupaka forms. It explores how dance-dramas emerged as a genre that combined elements of drama and dance. The key principles that govern Indian drama and its presentations, such as the four types of abhinaya acting, also apply to dance-dramas. These principles, along with concepts like natyadharmi and lokadharmi performance styles, underlie the technique of dance-dramas.
Drama is a literary genre that is meant to be performed on stage. It uses dialogue between characters to tell a story with a beginning, middle, and end. The key elements of drama include the plot, which is the structured sequence of events; characters; dialogue; and setting. Drama serves important functions like entertainment, education, and social change. It originated from early ritual dances and ceremonies and further developed in Ancient Greece. Drama realistically portrays human experiences and situations through the imitation of actions.
Drama refers to the theatrical aspects of a play such as the stage, costumes, music and production, while a play is a literary work consisting of dialogues between characters. A dramatist is responsible for producing a play by considering elements like stage measurements, character costumes and music synchronization. A playwright writes the play adhering to rules regarding sentiments, scenes and acts. While a play is meant to be staged, a drama encompasses the overall theatrical performance including genres like tragedy and comedy.
This document discusses the history and elements of drama. It outlines how drama originated from primitive tribes reenacting hunts, was later used in Greek worship and medieval biblical stories, and evolved into forms like morality plays. It also defines key elements of drama like character, tension, language, relationships and symbolism. Finally, it discusses the role of drama in providing perspective, connection, and promoting education and social change.
Drama is a staged literary genre that is performed for an audience. It uses dialogue between characters to tell a story through their interactions, thoughts, and actions. The key elements of drama are plot, which is the sequence of events; characters; dialogue; and setting. Drama is designed to be performed for impact and entertainment, distinguishing it from other genres like prose and poetry. A good drama will have a beginning, middle, and end to its plot and develop its characters and themes over the course of the performance.
Shama Bhate brought together renowned dancers from different Indian classical dance forms to retell stories from the Mahabharata epic. She choreographed pieces interpreting characters and events from the epic using the unique styles of Bharatanatyam, Kathak, Kathakali, Odissi, Kuchipudi, Mohiniattam and chhau dance. Bhate aimed to explore deeper layers and nuances of the text through combining these different dance traditions. Extensive preparation including discussions with the artists and rehearsals were required to stage this ambitious collaborative production blending the seven dance styles. The production highlights contrasting aspects of the characters and stories through the distinct aesthetics of each dance form.
The document discusses Indian aesthetics and art theory. It provides an overview of key concepts in Indian aesthetics including rasa (aesthetic experience/essence), the navarasas (nine basic emotions), and the theories of Bharata in the Natyashastra. It describes how vibhavas, anubhavas, and vyabhichari bhavas combine to produce rasa. It also discusses Indian aestheticians like Abhinavagupta and artists like M.F. Hussain. Criticisms of Indian aesthetics note its narrow focus on emotion and pleasure rather than other artistic aims.
This document discusses the theory and technique of ancient Indian stage dramas. It notes that the Natya Shastra describes ten classifications of dramas, including the main Rupaka form and minor Uparupaka forms. It explores how dance-dramas emerged as a genre that combined elements of drama and dance. The key principles that govern Indian drama and its presentations, such as the four types of abhinaya acting, also apply to dance-dramas. These principles, along with concepts like natyadharmi and lokadharmi performance styles, underlie the technique of dance-dramas.
Drama is a literary genre that is meant to be performed on stage. It uses dialogue between characters to tell a story with a beginning, middle, and end. The key elements of drama include the plot, which is the structured sequence of events; characters; dialogue; and setting. Drama serves important functions like entertainment, education, and social change. It originated from early ritual dances and ceremonies and further developed in Ancient Greece. Drama realistically portrays human experiences and situations through the imitation of actions.
Drama refers to the theatrical aspects of a play such as the stage, costumes, music and production, while a play is a literary work consisting of dialogues between characters. A dramatist is responsible for producing a play by considering elements like stage measurements, character costumes and music synchronization. A playwright writes the play adhering to rules regarding sentiments, scenes and acts. While a play is meant to be staged, a drama encompasses the overall theatrical performance including genres like tragedy and comedy.
This document discusses the history and elements of drama. It outlines how drama originated from primitive tribes reenacting hunts, was later used in Greek worship and medieval biblical stories, and evolved into forms like morality plays. It also defines key elements of drama like character, tension, language, relationships and symbolism. Finally, it discusses the role of drama in providing perspective, connection, and promoting education and social change.
Drama is a staged literary genre that is performed for an audience. It uses dialogue between characters to tell a story through their interactions, thoughts, and actions. The key elements of drama are plot, which is the sequence of events; characters; dialogue; and setting. Drama is designed to be performed for impact and entertainment, distinguishing it from other genres like prose and poetry. A good drama will have a beginning, middle, and end to its plot and develop its characters and themes over the course of the performance.
Shama Bhate brought together renowned dancers from different Indian classical dance forms to retell stories from the Mahabharata epic. She choreographed pieces interpreting characters and events from the epic using the unique styles of Bharatanatyam, Kathak, Kathakali, Odissi, Kuchipudi, Mohiniattam and chhau dance. Bhate aimed to explore deeper layers and nuances of the text through combining these different dance traditions. Extensive preparation including discussions with the artists and rehearsals were required to stage this ambitious collaborative production blending the seven dance styles. The production highlights contrasting aspects of the characters and stories through the distinct aesthetics of each dance form.
Famous classical dances in India. Indian classical dance, or Shastriya Nritya, is an umbrella term for various performance arts rooted in religious Hindu musical theatre styles, whose theory and practice can be traced to the Sanskrit text Natya Shastra.
The number of recognized classical dances range from eight to more, depending on the source and scholar. The Sangeet Natak Akademi recognizes eight – Bharatanatyam, Kathak, Kuchipudi, Odissi, Kathakali, Sattriya, Manipuri and Mohiniyattam.Scholars such as Drid Williams add Chhau, Yaksagana and Bhagavata Mela to the list.While the Culture Ministry of the Government of India recognizes Chhau as well. These dances have been regional, all of them include music and recitation in local language or Sanskrit, and they represent a unity of core ideas in a diversity of styles, costumes and expression
This Paper Includes History Of Kuchipudi And the key points of kuchipudi followed by instruments used in it. it can be useful for the people searching for a good presentation on Kuchipudi dance
The document discusses several key concepts in Sanskrit literary theory, including dhvani, rasa, alamkara, and their relationships. It provides definitions and explanations of these terms:
- Dhvani refers to suggestive or indirect meaning, as propounded by Anandavardhana, and considers it the characteristic of literary language over other forms of discourse.
- Rasa theory proposes that literature aims to evoke emotions or rasas such as love and humor in audiences. Figures of speech (alamkara) and dhvani are said to lead to evoking rasas.
- Alamkara refers to figurative language and speech that embellish a text but also shape how meaning
109- 'An Essential Theory of The Rasa in Natyasashtra and Indian Cinema'RiddhiRathod31
In this presentation I am shared How Rasa are includes in Cinema. In Cinema Rasa is very important to show characters emotions. In this presentation I will try to explain Rasa Theory in Natyasashtra and Indian Cinema.
This document defines key dramatic elements and concepts needed for writing and producing plays. It explains that drama portrays human life, emotions, and relationships through characters. It then lists and describes elements like characters, plot, theme, dialogue, genre, dramatic structure, contrast, symbols, setting, monologues, conflict, and more. It also discusses elements needed for production like audience, spectacle, props, sound, makeup, mood, and the role of actors in bringing characters to life through acting, non-verbal expression, and speaking.
This document discusses different types of children's literature including poetry, riddles, stories, and drama. It provides descriptions and examples for each type. Poetry is presented as a type of literature that conveys thoughts or describes scenes using lyrical language and specific arrangements of words. It can be structured with rhyme and meter or freeform with no set structure. Riddles are questions or puzzles that require critical thinking to solve. Stories are a connected series of events that can be told in various formats and cover many genres and topics. Drama combines both literature and theater, using dialogue and action to present a story with elements like setting, characters, plot, theme, and style.
Theater arts is a collaborative live performance art where actors perform a story on stage for an audience. Different theatrical forms include tragedy, comedy, drama, and melodrama which are distinguished by their themes and endings. Elements of theater include sound, music, movement, costumes, makeup, and spectacle which work together to enhance the performance.
CLASSICAL & FOLK DANCES IN INDIAN CULTURE by Dr Ananda and Smt Devasena Bhavanani for the UNMESH: EXPLORE, EVOLVE, REALIZE, A Study Programme in Indian Knowledge Systems and Cultural Heritage by Sri Aurobindo Foundation for Indian Culture (SAFIC), Sri Aurobindo Society (SAS), Puducherry in collaboration with Agastya Gurukulam, USA
The Rasa theory of Bharat Muni is an ancient Indian aesthetic theory that aims to describe the emotional or mood-based impact of performing arts on its audience. According to this theory, a performing art should evoke a specific emotional response or "rasa" in the audience.
Bharat Muni, the author of the Natyashastra, an ancient Indian treatise on performing arts, identified eight primary rasas or emotions that can be evoked in an audience. These rasas are:
Shringara (love, beauty)
Hasya (comedy, laughter)
Karuna (pathos, sorrow)
Raudra (anger, fury)
Veera (heroism, bravery)
Bhayanaka (fear, horror)
Bibhatsa (disgust, aversion)
Adbhuta (wonder, amazement)
Bharat Muni believed that these rasas are the essence of any performing art and that they should be presented in a way that is aesthetically pleasing to the audience. He also emphasized the importance of a performer's mastery of emotions and the use of appropriate gestures, facial expressions, and vocal modulation to create the desired emotional impact.
The Rasa theory has been widely used and appreciated in Indian classical music, dance, and theater, and has influenced the development of various art forms over the centuries. It remains an important concept in Indian aesthetics and is still studied and practiced by performers and scholars today.
The document discusses the key elements of theater. It describes theater as collaborative combining literature, dance, music, visual arts and architecture. It requires performances by actors in front of a live audience whose presence and reactions influence the performance. A script provides the blueprint through the playwright's creation of characters, plot and dialogue. Performers embody characters through techniques like voice and movement. Theater engages audiences through imagination as they experience the emotions of performances.
This document discusses the relationship between words and music in composition. It explores how words can take on musical qualities when set to music in operas. The composer experiments with using words, non-words, and foreign languages in compositions. Setting words to music can enhance or undermine the words, and composers must consider issues like balance and clarity. Finding the right collaborators is important for word-based compositions.
This document provides an introduction and overview of Sudraka's play Mrichchhkatika. It discusses several thematic concerns in the play, including the role of the prayer at the beginning, the significance of the characters Sutradhar and Nati, the crisis faced by the protagonist Charudatta due to poverty, and an disturbing scene involving the chase and harassment of the character Vasantasena by uncouth stalkers that comments on administering the state. The document aims to analyze these various elements and issues raised in the play to better understand the playwright's concerns at the time of writing.
The Importance of Each Elements of the Conventionジェ ーク
Fiction is a form of literature based on imagination rather than fact, poetry uses rhythm and rhyme, and drama is fiction intended for performance. Poetry uses devices like rhyme and meter which aid memory and provide pleasure. Meter guides the rhythm of a poem and influences how it is read aloud. Sound devices are used in poetry to convey meaning through creative use of sounds. In drama, elements like tone of voice are important because they communicate emotion and help understand characters. Drama also requires audiences and actors in order to be performed and realized. Genres help audiences understand and connect with different types of dramatic works.
Rasa is an art, which explore the aesthetic beauty of poetic world. Rasa literally means “taste”, or “essence”.
The theory of rasa as formulated by Bharata and later explicated and enriched by Anandavardhana and Abhinavagupta constitutes the Central Tradition in Indian aesthetic.
The document discusses the theory of Rasa and Dhvani in Indian aesthetics. It explains that Rasa refers to the dominant emotional theme or feeling evoked by a work of art. There were originally eight Rasas representing human emotions. Dhvani theory suggests that poets evoke emotions in audiences through suggestion rather than direct description, allowing the audience to experience the essence or Rasa of the emotion. The document also explores how Rasa and Dhvani theories were applied to poetry and drama and their development and impact on Indian literature.
CW DRAMA LESSON 3 WRITING ONE-ACT PLAY.pptxJennyRosero13
The document provides information about a drama class for the second semester including the subject teacher, content standards, performance standards, most essential learning competencies, and schedule. It discusses elements of drama such as plot, character, language, and more. It also outlines types of drama including comedy, tragedy, and melodrama. Additionally, it covers the technique of intertextuality in drama and its purpose and importance. The document aims to teach students about writing scenes for a one-act play by exploring elements, types, and techniques of drama.
The document provides an introduction to the ancient Indian text Natyashastra. It states that Natyashastra was created by the god Brahma and recorded by the sage Bharata. It details that Natyashastra is one of the world's largest theatre manuals, covering aspects like stage, dance techniques, acting styles, and the theory of emotions or rasas. The document also summarizes some key concepts from Natyashastra like abhinaya physical storytelling, mudras or hand gestures, and the actor's tools of costumes, words, body language and emotions.
This document discusses the value of figurative language. It defines figurative language as words used in non-literal ways to achieve special meanings or effects. Figurative language is most commonly used in poetry to convey emotions effectively. The document also discusses how, according to Richards, language in poetry is emotive and words have emotive value, so figurative language allows poets to express emotions forcefully. Finally, it provides an example of how figurative language is used throughout the poem "The Fair Fox of Boston" through techniques like metaphor, personification and symbolism.
Famous classical dances in India. Indian classical dance, or Shastriya Nritya, is an umbrella term for various performance arts rooted in religious Hindu musical theatre styles, whose theory and practice can be traced to the Sanskrit text Natya Shastra.
The number of recognized classical dances range from eight to more, depending on the source and scholar. The Sangeet Natak Akademi recognizes eight – Bharatanatyam, Kathak, Kuchipudi, Odissi, Kathakali, Sattriya, Manipuri and Mohiniyattam.Scholars such as Drid Williams add Chhau, Yaksagana and Bhagavata Mela to the list.While the Culture Ministry of the Government of India recognizes Chhau as well. These dances have been regional, all of them include music and recitation in local language or Sanskrit, and they represent a unity of core ideas in a diversity of styles, costumes and expression
This Paper Includes History Of Kuchipudi And the key points of kuchipudi followed by instruments used in it. it can be useful for the people searching for a good presentation on Kuchipudi dance
The document discusses several key concepts in Sanskrit literary theory, including dhvani, rasa, alamkara, and their relationships. It provides definitions and explanations of these terms:
- Dhvani refers to suggestive or indirect meaning, as propounded by Anandavardhana, and considers it the characteristic of literary language over other forms of discourse.
- Rasa theory proposes that literature aims to evoke emotions or rasas such as love and humor in audiences. Figures of speech (alamkara) and dhvani are said to lead to evoking rasas.
- Alamkara refers to figurative language and speech that embellish a text but also shape how meaning
109- 'An Essential Theory of The Rasa in Natyasashtra and Indian Cinema'RiddhiRathod31
In this presentation I am shared How Rasa are includes in Cinema. In Cinema Rasa is very important to show characters emotions. In this presentation I will try to explain Rasa Theory in Natyasashtra and Indian Cinema.
This document defines key dramatic elements and concepts needed for writing and producing plays. It explains that drama portrays human life, emotions, and relationships through characters. It then lists and describes elements like characters, plot, theme, dialogue, genre, dramatic structure, contrast, symbols, setting, monologues, conflict, and more. It also discusses elements needed for production like audience, spectacle, props, sound, makeup, mood, and the role of actors in bringing characters to life through acting, non-verbal expression, and speaking.
This document discusses different types of children's literature including poetry, riddles, stories, and drama. It provides descriptions and examples for each type. Poetry is presented as a type of literature that conveys thoughts or describes scenes using lyrical language and specific arrangements of words. It can be structured with rhyme and meter or freeform with no set structure. Riddles are questions or puzzles that require critical thinking to solve. Stories are a connected series of events that can be told in various formats and cover many genres and topics. Drama combines both literature and theater, using dialogue and action to present a story with elements like setting, characters, plot, theme, and style.
Theater arts is a collaborative live performance art where actors perform a story on stage for an audience. Different theatrical forms include tragedy, comedy, drama, and melodrama which are distinguished by their themes and endings. Elements of theater include sound, music, movement, costumes, makeup, and spectacle which work together to enhance the performance.
CLASSICAL & FOLK DANCES IN INDIAN CULTURE by Dr Ananda and Smt Devasena Bhavanani for the UNMESH: EXPLORE, EVOLVE, REALIZE, A Study Programme in Indian Knowledge Systems and Cultural Heritage by Sri Aurobindo Foundation for Indian Culture (SAFIC), Sri Aurobindo Society (SAS), Puducherry in collaboration with Agastya Gurukulam, USA
The Rasa theory of Bharat Muni is an ancient Indian aesthetic theory that aims to describe the emotional or mood-based impact of performing arts on its audience. According to this theory, a performing art should evoke a specific emotional response or "rasa" in the audience.
Bharat Muni, the author of the Natyashastra, an ancient Indian treatise on performing arts, identified eight primary rasas or emotions that can be evoked in an audience. These rasas are:
Shringara (love, beauty)
Hasya (comedy, laughter)
Karuna (pathos, sorrow)
Raudra (anger, fury)
Veera (heroism, bravery)
Bhayanaka (fear, horror)
Bibhatsa (disgust, aversion)
Adbhuta (wonder, amazement)
Bharat Muni believed that these rasas are the essence of any performing art and that they should be presented in a way that is aesthetically pleasing to the audience. He also emphasized the importance of a performer's mastery of emotions and the use of appropriate gestures, facial expressions, and vocal modulation to create the desired emotional impact.
The Rasa theory has been widely used and appreciated in Indian classical music, dance, and theater, and has influenced the development of various art forms over the centuries. It remains an important concept in Indian aesthetics and is still studied and practiced by performers and scholars today.
The document discusses the key elements of theater. It describes theater as collaborative combining literature, dance, music, visual arts and architecture. It requires performances by actors in front of a live audience whose presence and reactions influence the performance. A script provides the blueprint through the playwright's creation of characters, plot and dialogue. Performers embody characters through techniques like voice and movement. Theater engages audiences through imagination as they experience the emotions of performances.
This document discusses the relationship between words and music in composition. It explores how words can take on musical qualities when set to music in operas. The composer experiments with using words, non-words, and foreign languages in compositions. Setting words to music can enhance or undermine the words, and composers must consider issues like balance and clarity. Finding the right collaborators is important for word-based compositions.
This document provides an introduction and overview of Sudraka's play Mrichchhkatika. It discusses several thematic concerns in the play, including the role of the prayer at the beginning, the significance of the characters Sutradhar and Nati, the crisis faced by the protagonist Charudatta due to poverty, and an disturbing scene involving the chase and harassment of the character Vasantasena by uncouth stalkers that comments on administering the state. The document aims to analyze these various elements and issues raised in the play to better understand the playwright's concerns at the time of writing.
The Importance of Each Elements of the Conventionジェ ーク
Fiction is a form of literature based on imagination rather than fact, poetry uses rhythm and rhyme, and drama is fiction intended for performance. Poetry uses devices like rhyme and meter which aid memory and provide pleasure. Meter guides the rhythm of a poem and influences how it is read aloud. Sound devices are used in poetry to convey meaning through creative use of sounds. In drama, elements like tone of voice are important because they communicate emotion and help understand characters. Drama also requires audiences and actors in order to be performed and realized. Genres help audiences understand and connect with different types of dramatic works.
Rasa is an art, which explore the aesthetic beauty of poetic world. Rasa literally means “taste”, or “essence”.
The theory of rasa as formulated by Bharata and later explicated and enriched by Anandavardhana and Abhinavagupta constitutes the Central Tradition in Indian aesthetic.
The document discusses the theory of Rasa and Dhvani in Indian aesthetics. It explains that Rasa refers to the dominant emotional theme or feeling evoked by a work of art. There were originally eight Rasas representing human emotions. Dhvani theory suggests that poets evoke emotions in audiences through suggestion rather than direct description, allowing the audience to experience the essence or Rasa of the emotion. The document also explores how Rasa and Dhvani theories were applied to poetry and drama and their development and impact on Indian literature.
CW DRAMA LESSON 3 WRITING ONE-ACT PLAY.pptxJennyRosero13
The document provides information about a drama class for the second semester including the subject teacher, content standards, performance standards, most essential learning competencies, and schedule. It discusses elements of drama such as plot, character, language, and more. It also outlines types of drama including comedy, tragedy, and melodrama. Additionally, it covers the technique of intertextuality in drama and its purpose and importance. The document aims to teach students about writing scenes for a one-act play by exploring elements, types, and techniques of drama.
The document provides an introduction to the ancient Indian text Natyashastra. It states that Natyashastra was created by the god Brahma and recorded by the sage Bharata. It details that Natyashastra is one of the world's largest theatre manuals, covering aspects like stage, dance techniques, acting styles, and the theory of emotions or rasas. The document also summarizes some key concepts from Natyashastra like abhinaya physical storytelling, mudras or hand gestures, and the actor's tools of costumes, words, body language and emotions.
This document discusses the value of figurative language. It defines figurative language as words used in non-literal ways to achieve special meanings or effects. Figurative language is most commonly used in poetry to convey emotions effectively. The document also discusses how, according to Richards, language in poetry is emotive and words have emotive value, so figurative language allows poets to express emotions forcefully. Finally, it provides an example of how figurative language is used throughout the poem "The Fair Fox of Boston" through techniques like metaphor, personification and symbolism.
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Heart Touching Romantic Love Shayari In English with ImagesShort Good Quotes
Explore our beautiful collection of Romantic Love Shayari in English to express your love. These heartfelt shayaris are perfect for sharing with your loved one. Get the best words to show your love and care.
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Explore the exquisite art of Tanjore Painting, known for its vibrant colors, gold foil work, and traditional themes. Discover its cultural significance today!
The cherry: beauty, softness, its heart-shaped plastic has inspired artists since Antiquity. Cherries and strawberries were considered the fruits of paradise and thus represented the souls of men.
5. Paper: 1
Detail Study Of Natyashastra, Specially Dance Related Chapters And
Sangita Ratnakar
Module 24 Modes Of Presentation
(Vruti, Pravruti, Dharmi/वृत्ति, प्रवृत्ति, धर्मी) As Per Natyashastra
The production of different kinds of dramatic scripts on the stage
demands different modes and styles of presentation. It is in this
connection that Bharata’s doctrine of vritti is very relevant. The
concept of vritti may be explained as follows: The Sanskrit theory
assumes that the principal content of literature, both poetic and
dramatic, is an emotional experience or emotive reaction to an
experience of life. Every experience, naturally carries with it its own
emotional stimuli and its particular physical and psychical reactions.
In presenting them either through words only, as in purely poetic
compositions, or through the additional mode of acting, as in
dramatic writings, artists will have to see that they are appropriately
conceived and convincingly conveyed. Each emotion has an
atmosphere of its own and will be truly felt if its atmosphere were
correctly created and presented. For example, shringara / श्रुंगार or
love is a delicate emotion and demands real depth with poetic and
graceful presentation. On the other hand, veera / वीर or heroism
would demand hot exchange of words, vigorous action and even
fight. This is vritti. It is for this reason that Bharata links up the Vrittis
with rasas, suggesting that a particular rasa needs the introduction
of a particular vritti.
6. In the literary context a vritti is akin to the stylistic mode of
expression; they were later developed as the rites of writing.
In the theatrical context the use of a particular verity covers the
mode and style of presenting a drama, delivery of dramatic dialogue
and actions, looks and gestures, physical reactions and mental states
used in carrying the dramatic experience to the audience. Derived
from vruta, from the root vritti, it denotes behavioral mode of
speech, body and mind. In this sense the vrittis are not merely
literary styles; they govern the entire human life; and that is the
content of dramatic writing and presentation.
Bharata speaks of four vrittis. Arabhati / आरभटी is a vigorous mode,
and it is very suitable for a heroic play, a play of vigorous action,
political intrigue and physical and mental clash. Kaishiki / क
ै शिकी is a
delicate mode, and goes well with women characters, scenes of love
and tender emotions, and is generally associated with song and
dance technique of gestures and movements. Sattvati / सात्तत्तवती is in
a sãttvika mode, and is concerned with the operation of mind; a
perfect harmony of body and mind is essential for an effective
expression of emotions; the sattvati mode, involving the actor’s
identification with the emotion, is particularly important for theatric
rendering of emotions. Bharati / भारती is speech; it is the verbal mode
concerned with the delivery of dramatic speeches, written especially
in grand and impressive diction.
An actor always tries to convey the total meaning of the drama by
physical movements and gestures, by delivering the dramatic
speeches with appropriate intonation of voice, and by expressing the
mental states. When we speak of four vrittis, therefore, it is only
from the point of view of the particular element, physical, mental or
verbal, which predominates at the moment. Otherwise these
7. activities present a single complex, and vritti as such, would be only
one. Bharati / भारती is a verbal mode and is common to all kinds of
dramatic writing. Sattvati / सात्तत्तवती is a mode concerned with the
rendering of emotions and no dramatic piece can do without it; in
fact, Bharata rates the sattvativritti above all else in histrionic
representation. We are thus left with two essential dramatic modes,
the arabhati and kaishiki. But this accords with Bharata’s statement
made in another place that the dramatic production is of two kinds,
sukumara / सरक
र मार or delicate, and aviddha / आववद्ध vigorous,
corresponding to the use of kaishiki and arabhati modes.
The significance of the doctrine of vritti for dramatic production is
that a play or a scene in a play is dominated by a particular action
and emotion. It is the business of the producer-director (the
sutradhära of the Sanskrit drama) to choose an appropriate vritti to
present a play taken up for performance, and to vary it, if necessary,
for playing different scenes in the play. It is thus necessary to fix the
general mode and style of presentation when a play goes into
production. For example, the dominating mode for a play like the
Shakuntala will be the graceful kaishiki; it will do for playing the
fourth act, but it will have to be coupled with sattvati; and in the fifth
act while presenting the confrontation between Dushyanta and the
ashrama party, as well as in presenting the encounter between
Dushyanta and Matali in the sixth act, a touch of ãrabhati will be
inevitable. On the other hand, the dominating rule for the play
Mudrãrãkshasa must be the arabhati as it is a play of vigorous action
and political confrontation; but in presenting the scene of
Chandanadsa’s execution, kaishiki mode will be necessary at least in
the beginning. It is the responsibility of the sutradhãra or the
director to study the play carefully and determine whether its
content can best be carried to the audience by a graceful mode or a
8. vigorous mode used in a general way, with touches of other modes
demanded by internal scenes. This is what vritti means in theatric
context.
Bharata’s doctrine of pravrtti may be considered along with vritti, as
the two go together, and as it is a part of the general aspect of
drama production which a director will have to keep in mind.
Essentially, vritti is concerned with the expression-aspect and
pravrttis with the communication-aspect of drama. People in this
world belong to different places and regions; they have their own
land of origin and residence. They differ, however slightly, in their
habits of speech, dress, food, and public and private behaviour. This
mode of living and behaviour is what is called vritti, and pravrttis is
the knowledge and communication of such individual and particular
modes. Pravrttis thus amounts to local usages so far as peoples’
speech, dress, action andbehaviour are concerned. Bharata’s idea of
a drama is that it is an imitation of lokavrtta / ऱोकावृत्तत. If drama,
therefore, is to be vrittãnta-darshaka / वृत्ततान्त-दिशक of all kinds of
people in the world, it is expected that both the composition and
production of drama will carry with them enough air of realism to
make this possible. Of course, we know that the Sanskrit drama,
however ideal and imaginative it may be in its theme and
conception, is set by the dramatists in an atmosphere of
contemporary realism. This is where pravrttis come in. The local
usages have another angle also in the context of drama production.
It is expected that a play would be taken to different localities and
regions; and if the local audiences find a reflection of their own
speech dress, manners and behaviour in the production of a play
they are bound to give a greater response and enjoy it better.
9. The four pravrttis of which Bharata speaks, namely, Avanti / अवन्ती,
Dakshinatya / दक्षिणात्तय, Panchali / ऩाुंचाऱी, and Odhra-magadhi / ओध्रा-
मागधी, clearly show a regional and local connection from which they
originate. A dramatic presentation may have such features related to
particular regions and people. Bharata observes that the Southerners
are very fond of music and dance and like graceful presentation; the
peoples of the Avanti country and of middle India feel the attraction
of the grand and the graceful; the Eastern countries and their people
welcome the impact of full-blooded dialogue gracefully delivered
and appreciate wordy rhetoric; to the Western peoples violent and
grand action has the best appeal. Observation of such regional
predilections leads to the use of different vrittis and pravrttis. And
Bharata feels that a director would do well to study and respect local
usages and customs. In matters of costumes (unless the play were
historical), food habits, social practices and taboos, a director could
thus concede to the wishes and preferences of local audiences. As a
point of realism, the use of regional languages and dialects has
already been provided in the theory for different dramatic
characters. A further concession is about dress, manners and
behaviour of characters presented on the stage. And it may be
extended to stage technique too, if necessary. It is noted in the
Natyashastra that in certain regions characters enter the stage from
the left or the right side, as opposed to Bharata’s stage where
entrance and exit are from the back to the front and vice versa. To
entertain and please local audiences a director may, therefore, use
special technique, omit or modify dramatic speeches, vary actions
and dresses, make use of music and dance. Such adjustment is the
director’s responsibility and it is a necessary part of production
technique.
10. Use of vrittis and pravrttis can be realized and appreciated only in an
actual theatre production of a play. But occasionally we may find a
careful dramatist providing stage directions for delivering dramatic
speeches So as to reflect the mood and emotion behind them, which
will be suggestive of the vritti necessary to be employed. And, once
in a while, a dramatist like Kalidasa refers to a regional custom of
dress as when Queen Dharini, in the Malvikagnimitra asks Pandita
Kaushiki to dress Malvika in the bride’ dress customarily used in
Vidarbha for the occasion of marriage.
Bharata also speaks of lokadharmi / ऱोकधमी and naryadharmi /
नाट्यधमी productions. Lokadharmi is based on the natural state of
things and the actual experiences of real life; it is realistic
representation. Natyadharmi is a specialized mode of representation
and uses dramatic conventions and symbolic, artistic forms of
abhinaya.
There is no doubt that Bharata cares for realism in dramatic
productions. For, after all, drama is an imitation of human life and is
founded on human nature. Whatever characters are presented in a
play, whether celestial, demonic, human or from the nether world,
they must make a traditionally conceived or realistic appearance,
and speak, act and feel as human beings do. In order therefore to
make a correct impact on the spectators and evoke from them a
proper response, a play has to be as realistic as possible in a theatre
production. Bharata mentions several elements which can bring
about such an air of realism in the performance of a play. For
example, dress arid general appearance, speech habits, actions and
behavior of dramatic characters are modeled on our experiences of
real life.
11. Bharat as conception of pravrtti and his recommendation for the use
of Sanskrit and Prakrit languages in the spoken dialogue of the
drama are intended to make the performance natural. More
important is the play of emotions, and gestures and actions that
accompany them, which are recommended to be as real- life and
natural as possible.
But in spite of this care for realism one cannot ignore the limitations
of a theatre stage. These limitations are of two kinds. There are
certain happenings and actions which cannot be reproduced on a
stage like fire, flood, journey, siege or battle. These are the natural
limitations of a stage.
Another kind of limitation comes in due to the condition of a stage at
a particular time or place. The ancient stage lacked, for example, the
equipment and facilities which a modern play- producer could use;
so, reproducing the background of a happening or creating the scene
of action, which is possible to some extent in a modern drama
production, was not possible for the ancient producers. Limitations
of both these kinds call, therefore, for a suggestive, symbolic or
stylized presentation; and it is in this context that natyadharmi
abhinaya becomes relevant and significant.
It should not be surprising if natyadharmi abhinaya appears to play
an important part in Bharata’s production techniques. The ancient
stage had to find a substitute for all the lack in equipment and
material means it had to face. There is another factor also. The
natyadharmi technique carries with it a certain grace and charm
associated usually with art technique and which is perceived, for
example, in a dance presentation which has a thematic or emotional
content. Bharata regards drama production as a means of
entertainment and a source of pleasure to the audience; and this is
12. an additional reason why he recommends natyadharmi technique to
convey a sense of grace and beauty.
The natyadharmi technique, based on conventions and forms of
angikabhinaya / आन्न्गकाशभनय, is possible to be used in many aspects
of drama production, Bharata speaks of different kinds of abhinaya,
production devices and dramatic convention in this regard For
example: (I) Conceptual or mythological things like ‘curse’ or flight
through air, if presented on the stage in concrete or personified
form; the Balacharita shows curse, Royal Glory etc. as characters on
the stage; (ii) Mountains, vehicles, aerial cars, celestial weapons etc.
similarly personified; Bhavabhuti makes the Jrimabhaka missiles
speak from behind the curtain; but in Balacharita and Dutavakya
attributed to Bhasa the weapons of Vishnu and also Garuda appear
as dramatic characters; (iii) The natyoktis / नात्तयोन्तत like svagata /
स्वागत, ianantika / इअनुंटीका, etc. are conveyed by special hand
gestures and poses (iv) Double roles of an actor; (v) Representation
of a character contrary to his natural status; like an unmarried girl
playing the role of a married woman or vice versa; (vi) All abhinaya
executed with graceful gestures, steps and movements; adoption of
dance modes; (vii) Appearance of celestial characters on the stage;
(viii) Mental states of happiness or sorrow and actions connected
‘with then rendered in set or conventional technique in stage
performance; (ix) Imaginary divisions of the stage to indicate
deferent locations (kakshya-vibhaga / कक्ष्य-ववभाग); (x) Poetic
concepts and creations, decorative. language, movements or
ornaments etc. these are some examples of conventional or
natyadharmi drama production. Thus, presentation of dramatic
speeches, gestures and movements; rendering of emotions; certain
actions like journey, riding, climbing or descending, fights; change of
scene; conveying the notion of time, season or place: such things
13. may, as far as possible, be realistically presented on the stage; the
alternative is the poet’s words of description; and if they are
rendered by symbolic; suggestive acting based either on dramatic
conventions or dance modes, they come in the sphere of
natyadharmi.
The natyadharmi has thus considerable scope in play-acting; much
more so in Sanskrit drama, because Bharata views dramatic
performance as a charming, stylized art.