With the exception of India, no other nation has an old classical text that is entirely devoted to the creation, methodology, and significance of performing arts. Bharata is believed to have authored the one-of-a-kind Natyasastra, which was likely composed about 200 BCE. This Sanskrit scripture is both ancient and relevant; much of what it says about the theater is still true today.
The production, practice, and significance of music, dance, and drama are the exclusive topics of the ancient classical treatise Natyasastra.
By fusing the words “Natya” (dance/actor methods) with “sastra” (science), the Natyasastra is firmly anchored within a codified setting that is remarkably secular. Bharatanatyam, Oddisi, and Kuddiyatam are some of India’s classical dance traditions; this work provides the social and philosophical basis for these dances as well as specifics on acting, costumes, music, instruments, and makeup. This ancient book is essentially a how-to guide for putting on plays and performances. Being a playwright and director, I can attest that the Natyasastra is applicable to even the most cutting-edge contemporary plays.
The work is often thought to have been authored by Sage Bharata, although other experts hold the opinion that its immense size (comprising over 6,000 sutras or stanzas) makes it impossible to assign authorship to a single person. It should be remembered that there are numerous commentary on the Natyasastra, including one by the illustrious Kashmiri scholar Abhinavagupta, who is said to have embedded the rasa theory into the book.
Even though Bharata is mentioned multiple times in the Natyasastra, not much is known about him and people are confused as to whether or not he actually existed. Some academics believe that an unknown actor or actors may have been responsible for writing this essay because the word Bharat may also imply an actor.
Epicurean Thinker Aristotle
Ancient Greek Thinker Aristotle | Wikimedia Commons
The Ancient Link
Between 200 BCE and 600 CE, a Sanskrit author penned the 36-chapter Natyasastra, which contains 6,000 sutras. Keep in mind that the development of this text occurred concurrently with the composition of the Poetics by the Greek philosopher Aristotle. Naturally, The Poetics is regarded as the initial western work on philosophical thesis and dramatic philosophy.
Concurrent with the composition of Aristotle’s Poetics, Natyasastra emerged as a system of Indian philosophy.
Not only were the Natyasastra and the Poetics likely written at the same time, but many of the ideas presented there appear to have evolved simultaneously. Consider the idea of mimesis as an example. Aristotle argued that all kinds of art are imitations, a term meaning mimesis. Aristotle states in his commentary that literature frequently uses universal and generalized representations of objects rather than their actual or actualized forms. The Natyasastra echoes this sentiment, stating that theater is sahanakirana (oneness with one’s existence and its processes) since it is Natyabhavanikritam, or the rebuilding of reality. Tanmayabhavina, the ability to re-create the object’s reality, is what the viewer feels in this manner.
It appears that the Natyasastra and the Poetics shared a common genesis for many ideas.
Performances described in the Natyasastra took place in sacred spaces like temples and palaces, much like the Greek drama that was an integral aspect of Dionysus’s ritual. Additionally, both Aristotle’s poetics and Bharata’s Natyasastra share an ontological similarity in that they both stress the importance of plot display and insist on rigid processes underlying producing it. One plot is all they’ll budge on. The four steps of the Aristotelian method are kinesis, peripeteia, anognorisis, and hamartia, which refer to changes in position or change of character. Arambha (the beginning), prayatna (the endeavor), prapti-sabhavana (the potential of accomplishment), niyapti (the assurance of attainment), and phalaprapti (the attainment) are the five stages of the plot that are discussed in the natyasastra.
In addition to similarities, there are also shared characteristics. In the Natyasastra and Greek, the word “yavanika” means a curtain. Dramatic Concepts: Greek and Indian, a Study of Poetics, and the Natyasastra author Bharat Gupt claims:
In their pursuit of sacred activity (hieropraxis), the traditions of classical Greek and Indian theater promoted devotion, intellectual comprehension, and symbolic expression onstage simultaneously. Through the employment of semiotic signals, music, dance, and speech, they created a highly elaborate theatrical world that delighted both gods and humans. As a result, both helped spread particular ideals. Theater in India preached Vedic principles with the goal of improving people’s lives, whereas theater in Greece introduced audiences to the Olympian gods. To that end, one may say that both places served as venues for avatar or incarnation practices. They were also not puritanical when it came to art; to them, all forms of expression were means to a more transcendent and ecstatic experience.
Mr. Satyabrata Rout, the director of Urubhangham
Wikimedia Commons has the Urubhangham film, which was directed by Dr. Satyabrata Rout.
Where Did the Natyasastra Come From?
Sage Bharata was commissioned by Brahma, the creator of the universe, to pen the Natyasastra.
The mythology surrounding the creation of the Natyasastra is the finest illustration of the interconnections between the religious and the secular. The legendary creator of the universe, Brahma, supposedly commissioned Sage Bharata to pen the Natyasastra. The Natyasastra, sometimes called the fifth Veda, is a compilation of verses from the Rig Veda, songs from the Sama Veda, dance steps from the Yajurveda, and esthetic principles from the Atharvaveda. Bharata drew on these sources to compose his work. The following events are detailed by the legend. It seems that Bharata’s 100 sons were cast in parts during the flag ceremony of the god Indra, also known as Indrodhvaja. The nymphs and apsaras of the heavens received the female parts. The monarchs reveled in the performance despite its dearth of passionate elements. The asuras were already somewhat angry before the presentation even began, but they went into full-blown frenzy when it portrayed the banner ceremony of Indra. As a result, the open-air performance had to be moved to an auditorium. It was the first stage of what would later become known as a proscenium (vertical plane or space) theater. Following this mayhem, Bharata proceeds to explain that theater serves to depict all groups, including gods and demons, rather than just one, and that this includes both good and bad.
Apsara is a playgoer who frequently makes appearances.
The Apsara is a play-recurring character | Wikimedia Commons
Several scholars believe that the origins of theatrical recitation predate the date assigned to the Natyasastra; this is evident even from a cursory examination of the textual analysis of the text. By analyzing the larger stories inside epics like the Mahabharata and Ramayana, they are able to spot linkages.
The apsaras appear to play a significant role in both the Sanskrit plays and the Natysastra literature, which is an intriguing observation. The heavenly nymph, apsara, or courtesan was a highly esteemed and revered figure. She was not associated with any kind of societal stigma. It is clear from the sculptures found in ancient temples that they did, in fact, have a reasonable measure of independence and respect.
Figurines depicting female performers striking dancing poses
Images of female performers holding dancing poses may be found on Wikimedia Commons.
Getting Things Started with the Natyasastra
The great upheaval that engulfed Arya Vrata in the latter Vedic era must be considered while considering the origins of Natyasastra. Theater in India has a long and storied history that dates back to the second urban revolution, the great republics’ ascent to power, or the Mahajanapadas. Cities like Sravasti, Kashi, and Rajgriha rose to prominence during the Maurya period (6th–4th BCE). People in these cities obviously needed to be amused, so there was a lot of activity and theater going on. It is believed that numerous troupes were present in the cities, and archeological digs have uncovered multiple sculptures of artists. There were men and women among the performers.
The prolific nature of the theater mirrored its rising popularity. People from all walks of life would go to see plays staged in sacred locations like palaces, temples, and cathedrals. The performance supposedly brought good fortune to the king, the city, the kingdom, and all of its inhabitants, regardless of age. Theatrical performances in ancient India also had strong ethical foundations. For instance, the material was based on real-life examples and the philosophy of Hinduism. Although the show was intended for the benefit of the people, society was kept front and center throughout. Moral restraints on human behavior were a common plot point in many plays.
Everyone from the upper class to the lowest liked the plays staged in sacred locations like palaces and temples.
According to the Natyasastra, characters can be depicted as having uttama prakiti, an elevated sense of the world and high moral order; madhayama prakiti, a lack of moral sense but great sagacity and worldly wisdom; or adhama prakiti, a criminal. Both esthetic and moral values were highly valued.
It is worth noting that experts in the field, such as the renowned German researcher Prof. Konow, who has examined the Natyashastra, have provided explanations regarding the secular nature of the text’s roots. This is evident in India’s shadow puppet shows. In this play, the term “Sutradhar” plays a pivotal role. According to Konow, the text’s etymology traces back to shadow puppets and string puppets, as it signifies or suggests someone who holds the play’s thread.
Performing Arts Center
Hall of Recital | Commons at Wikimedia
The Natyasastra’s Explanation of Material Culture
The Natyasastra devotes a significant portion, around 105 stanzas, to the building of the play’s auditorium or theater. This all begins with the Mandapa Vidhanam, the first section of Chapter 2 of the Natyasastra, which addresses the erection of public buildings. The Bhagavad Gita states that there are essentially three shapes for theaters: square, rectangular, and triangle. They ought to measure 108, 64, or 32 hastas in length. The length of a hasta, measured from the bend of the elbow to the middle fingertip, is approximately 18 inches (or 45 cm). Actors’ facial expressions, hand and foot movements, and overall body language will go unnoticed in auditoriums larger than 108 hastas, as stated in the Bhagavad Gita. The size of the auditorium, he realizes, is crucial to the drama, as the voices of the male and female actors should be pleasant.
- The Natyasastra devotes a whopping 105 stanzas to the building of the theater.
Bharata suggests dividing the auditorium into two equal-length sections. There was an audience hall on the east side, and two sections, the Rangasirsa and the green room, on the west. Both the Rangapitha and the Ragasirsa served as platforms. In order to keep inebriated people out of the Rangasirsa, the Mattavani was a wooden railing.
Details of every person essential to a theatrical presentation were likewise detailed in the Natyasastra. Among them were experts in seventeen distinct areas of production-related activities. Among these were multi-faceted individuals such as a Vidusaka (a person who plays a jester), a Tauripta (a musician who is proficient on all instruments), a Nata (a person who acts as a dancer and actor), a Sutradhara (a person who is an expert at incorporating music and lyrics into performances), a Natyakara (a person who, according to the Natyasastra, portrays the range of rasas and bhavas inherent to the audience through a variety of characters), and a Nayaka (a person who directs the dance portion of a performance).
Additionally, the music and instruments are described in great depth.
According to the Natyasastra, musicians can convey their meaning to the audience more effectively through song. According to renowned researcher Premlata Sharma, who has researched musical semiotics and rasa theory, the intention of Natyasastra in incorporating dance and music within the text was to enhance comprehension. A variety of stringed, hollow, and percussion instruments were utilized. The mridanga and cymbals were well-liked percussion instruments, and flutes were also utilized. Tala (rhythm), sar (tone), and pad (metre) were the building blocks of the Gandharva style of vocal singing.
A percussion instrument known as a mridanga
Image courtesy of Wikimedia Commons:
Mridanga, a percussion instrument
Of course, acting skills, with an emphasis on words, motions, and gestures, are at the heart of the Natyasastra. No detail has been spared in the Natyasastra’s extensive treatise on acting, abhinava, which covers everything from the actor’s physical appearance (the necessity of fitness) to their facial expressions, voice, and postures.
Today, people still follow the Abhinaya rules that were laid out in the Natyasastra.
The Natyasastra’s regulations for Abhinaya are still in use today
It should be noted, nonetheless, that the author insists time and again that various abhinaya styles do not adhere to any strict rules.
Sattvika, meaning “grace and charm,” is the next stage of abhinaya. One is need to possess grace in order to conduct appropriately. Because there may be women and children in the audience who are sensitive to violent themes, Bharata emphasizes that love moments and depictions of battles should be handled with care.
Forms of theatrical representation and rasa, or audience emotions, are also discussed in the Natyasastra. The commentary of Abhinavagupta, who lived in the 10th century CE, is largely responsible for this. Rasa is the intense, ever-changing sensation felt by all parties involved in a performance, including the audience, the artist, and the actor. There are eight primary rasas, plus a ninth that was added later, according to Abhinavagupta, who examines the rasas in detail. These Rasas continue to be the foundation of classical Indian dance.
Traditional Indian performances still revolve around the Rasas.
The Rasas continue to be an integral part of classical Indian dance performances up to the present day.
The Natyasastra not only discusses the many facets of acting in a play, but it also classifies all plays into ten broad categories.
In its entirety, the Nataka should consist of seven or five acts telling the famous tale of a monarch or sage.
In a play’s Prakaranam, the protagonist is either a Brahmin, a minister, or a merchant. In all, there need to be five to 10 acts to this.
The story of Anka is a famous one; it follows the rise to heroism of a common guy. This is a one-act play.
There is just one act to the famous story of a royal sage Vyayoga.
Bhana—There is only one act to the story, and it is structured around the author’s monolog.
The famous Samavakara tale features both gods and demons as protagonists, with bravery serving as the story’s central theme.
The drama helps to build the plot, Vithi. Two people fall in love and the play only has one act.
Prahasana—Fantastic tale
Dima is a famous four-act tale about gods and demons who are at war over witchcraft.
Man is the hero in the mythological tale Ihamgra, which features both humans and gods.
Almost all screenplays for modern films and stage productions boil down to this. Incredible as it may seem, Bharata had the wisdom to outline the fundamentals of theater more than two millennia ago.
In conclusion, the Natyasastra is an all-encompassing literature that deals with every facet of drama and continues to have tremendous contemporary significance. Natysastra has been an inspiration for the music, abhinaya, and physical expressions and movements of the majority of India’s classical dances, including Kathak, Odissi, Kuchipudi, and Bharatanatyam. The details of the outfit and accessories have also been lifted from the book. To this end, the Natyasastra is not just a text; it is a living, breathing literature whose principles and shapes are discernible in modern dance.
It is quite remarkable that this ancient literature, which dates back 2000 years, has continued to serve as the bedrock of classical Indian dance styles all over India.