History of
Indian theatre-
Sanskrit
theatre-
The
earliest-surviving fragments of Sanskrit drama date from the 1st century CE.[6]
The wealth of archeological evidence from earlier periods offers no indication
of the existence of a tradition of theatre.[7] The ancient Vedas (hymns from
between 1500 to 1000 BCE that are among the earliest examples of literature in
the world) contain no hint of it (although a small number are composed in a
form of dialogue) and the rituals of the Vedic period do not appear to have
developed into theatre.[7] The Mahābhāṣya by Patañjalicontains the earliest
reference to what may have been the seeds of Sanskrit drama.[8] This treatise
on grammar from 140 BCE provides a feasible date for the beginnings oftheatre
in India.[8]
The major
source of evidence for Sanskrit theatre is A Treatise on Theatre (Nātyaśāstra),
a compendium whose date of composition is uncertain (estimates range from 200
BCE to 200 CE) and whose authorship is attributed to Bharata Muni. The Treatise
is the most complete work of dramaturgy in the ancient world. It addresses
acting, dance, music,dramatic construction, architecture, costuming, make-up,
props, the organisation of companies, the audience, competitions, and offers a
mythological account of the origin of theatre.[8] In doing so, it provides
indications about the nature of actual theatrical practices. Sanskrit theatre
was performed on sacred ground by priests who had been trained in the necessary
skills (dance, music, and recitation) in a [hereditary process]. Its aim was
both to educate and to entertain.
Its drama is
regarded as the highest achievement of Sanskrit literature.[12] It utilised
stock characters, such as the hero (nayaka), heroine (nayika), or clown
(vidusaka). Actors may have specialised in a particular type. Kālidāsa in the
1st century BCE, is arguably considered to be ancient India's greatest Sanskrit
dramatist. Three famous romantic plays written by Kālidāsa are the
Mālavikāgnimitram (Mālavikā and Agnimitra), Vikramuurvashiiya (Pertaining to
Vikrama and Urvashi), and Abhijñānaśākuntala (The Recognition of Shakuntala).
The last was inspired by a story in the Mahabharata and is the most famous. It
was the first to be translated into English and German. Śakuntalā (in English
translation) influenced Goethe's Faust (1808–1832).[12]Under the patronage of
royal courts, performers belonged to professional companies that were directed
by a stage manager (sutradhara), who may also have acted.[9] This task was
thought of as being analogous to that of a puppeteer—the literal meaning of
"sutradhara" is "holder of the strings or threads".[8] The
performers were trained rigorously in vocal and physical technique.[10] There
were no prohibitions against female performers; companies were all-male, all-female,
and of mixed gender. Certain sentiments were considered inappropriate for men
to enact, however, and were thought better suited to women. Some performers
played characters their own age, while others played ages different from their
own (whether younger or older). Of all the elements of theatre, the Treatise
gives most attention to acting (abhinaya), which consists of two styles:
realistic (lokadharmi) and conventional (natyadharmi), though the major focus
is on the latter.[11]
The next
great Indian dramatist was Bhavabhuti (c. 7th century CE). He is said to have
written the following three plays: Malati-Madhava, Mahaviracharita and Uttar
Ramacharita. Among these three, the last two cover between them the entire epic
of Ramayana. The powerful Indian emperor Harsha (606-648) is credited with
having written three plays: the comedy Ratnavali, Priyadarsika, and the
Buddhist drama Nagananda.
No comments:
Post a Comment