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CHAPTER I
ORIGIN OF SANSKRIT DRAMA
Drama which is a conglorieration of dance, music and acting
is the highest forni of art. The aphorism niiiakiintam kavitvam
shows the importance given to dra~iiaticf o ~ m .India has a rich
heritage of Sanskrit theatre. Thr: Nii!yaGstra of Bharata (2 c. BC)
is the earliest known and tlic most authoritative work on
dramaturgy. Theatre was popu ar even earlier. The Brahnianical
and Buddhist literature and the grammatical works of Piinini and
Pataiijali which are quite earler than the Niityaiiistra refer to
dramatic perfornlances.
Panlni refers to natasutras, apllormisms on the science of
acting by two earlier authors, !;iliilin and KyiiiSval. Niityaiiistra
refers to the staging of a drama deplct~ngthe story of chumlng of
the milky ocean in the presence ofGods in heaven. Patafijali alludes
of Siva. Tradition relates that jailgfta was originated from the riisa
dance of Lord Krsna
. . . and the 85pikiis. All thesc point to the religious
origin of drama.
Sanskrit drama is a combination of music, dialogue
gesticulation and imitation. klusic can be traced to the vedic age.In
RgvZda there is a dialogue between Yama and Yarni and of lndra,
Agastya and Maruts. There is in~personationand gestures in the
vedic rituals. Professional s t x y tellers while narrating stories of
puriiciis and itihgsis must hiwe used some gestures and music to
make their narration attracthe. Thus the origin of Sanskrit drama
can be traced to a harmonious blend of music, dance,dialogue,
gesture and stories employcd both in religious ceremonies and
secular assemblies" The fifth vEda gained a secular nature since it
had access to people of all the classes.
Another version regarding the origin of drama furnished by
the Abhinayadarpana of NandikESvara is that Bharata studied
NiifyaSZstra from Brahnia 2nd performed before Lord hiva with
the help of gandharviis and apsaras . Siva with the help of Psrvati
taught the tender liisya and tiindava
. . through his disciple Tandu.
..
five stages of the object.There are five sandhk also which are
performed by combining the five essentials of the plot with the five
stages. The five sandhis are ~nukha,pratimukha, garbha, AvamarSa
(vimaria) and nirvahana (upisamhrti)
. .
arthaprakrtis avastha
sandhi
bija
+ Zrambha
bind11
+ yatna
- pratimukha
progression
patlTk2
+ priiptyZSa
- garbha
development
prakari
kiirya
+ phiiliigam:~- n i ~ a h a p a
niyatiipti
mukha
avamarSa
the opening
the pause
the conlusion
dhTr6ddhata
violent
dhiralajita
graceful
dhfraSZnta
peacehl
Virahotka~idhitii
..
distressedby separation
Khandhitii
..
enraged
Vipralabdh5
the deceived
Prositabliartrk5
AbhisiirikZ
Sanskrit, the lesser ones, women of all types speak priikrts. Prose
and verse are intervowen. Thi: combination of prose and verse in
Sanskrit drama would be a legacy of the early vedic dialogue
hymns which were dropped at the time of the Samhita formation.
The poets can take plot:; either from the epic or from history.
It can be imaginary also. The dramatist is free to remodel the story
or character, in the former case so as to bring a harmonious
emotional impression expressed by the concept of rasa. Battles,
fights, death, seiges etc. are reprted on the stage through the dialogue
of minor characters and interludes.
iii. CHARACTERISTICS OF SANSKRIT DRAMA
Along with epic themes love stories are also included. Before
the play actually begins, a benetlictory verse called nxndi is recited.
It prays to the deity for the renoval of all the impediments that
may arise during the perfomani:e of the play. Sutradhiirathe stage
manager retires after the nand: and enters again to introduce the
play. The prologue alludes to the poet's literary attainments, the
occasion ofproduction, the group of actors producing it and suggests
the subject in the form of bija.
STitradhiira must know every aspect of drama and theatre
and so also his assistants, p2ripZrSvika. The introduction is of two
kinds - prar6cana and Smukha. If the stitradhiira himself conducts
it, it is called prar6cana. In a~nukha,he holds conversation with
some other character like an actress or assistant bearing on the
subject to be introduced. The play begins after the prologue.
It
is divided into acts and scene:,. An act must not be too long, must
be full of rasa prefixed if needed by interludes. The interlude is a
device which is used to communicate the audience certain past or
future events which have direct bearing to the plot. Its representation
on the stage may be unnecessay or sometimes difficult. The dramatist
Nitaka, the horoic typt, which was given the pride ofplace,
consists of four kinds of abhinayiis, viz. ingika, viicika, sitvika
and iihirya. The hero must bt dhirodiitta whose acts are aimed at
the defence of a righteous cause. There must be five to ten acts.
The plot must be a celebrated :story. It should contain five sandhis
and sixty four sandhyaligis. kyligiira or vira must be the chief
sentiment and in the conclusion, the marvellous adbhuta. Love is
the subject of most of the drarnz~sand the Vidfisaka plays a prominent
.
this type of riipakas. K:.IyXnasaugandhika of NTlakantha13,
~irZt71rjun~yav~Zy6ga
of K~iifiikuttan
.. TampurZn are some among
them.Only the incidents occured on a single day are described.
Samavakiira
because he could not get hi: beloved .The plot is a mixed one.
Niiyaka and pratin5yaka should be either a mortal or a God. Ihiimyga
is derived as that, mrgavat zlabhyiim nzyikiim niiyako ihate iti
(Hero tries to gain a devine heroine who is as unattainable as a
deer). The hero should be a dhirodiitta.
~ r t h is
r also a one ac,:play. It should be arranged with the
employment of one character.or two. The touch of Srfigiira is there.
~TlgvatTand CandrikZ of F.Zmapiir$vZda belong to this class of
riipaka.
Of these ten, the first two viz. 11rTfakaand prakarana are considered
to be the best.
V. AIM OF SANSKRIT DRAMA
followed, not the Villain, Rgvana and this must be the lesson one
has to learn from RZmiiyana play. The message is that virtue should
not be defeated. While selecting the theme, ancient dramatists had
borne this in mind. An an. is not intended to confuse or pose
problems to its viewers but help them to overcome hurdles and
attain calmness. It can act ;is the most powerful weapon against
social, economic and politic a1 evils.
Sansknt drama plays a pivotal role in popularising spritual,
cultural and literary heritage: of the country. It is a means for the
upliftment of the society anc: an instrument to boost up the standard
of morality. It shows the ways of the world - l6kacaritam and the
doings of men in order to en1 ghten and guide the audience who
with the knowledge can recognize what is good and accept it.
Visuals have a direct appeal to the diverse tastes of the
pcople. When a drama sat is fit:^ different people with varied tastes,
its purpose is served. It shoulti act as a relief to those tired of their
routine work. So a dramatist k,as to present the condition of people
in a realistic manner. Bharata in his Niitya6iistra says that the
dramatic presentation consisls in the imitation of a condition, life
or the ways of the world. For a successful imitation of the above,
the knowledge of dharmi or mode of representation is inevitable.
NiiiyaSastra classified dharm; into liikadharmf (realistic) and
n~!~adliamif(stylized). ~ ~ k a d h a r mis rthe imitation of natural
events on the stage. Since this imitation lacks artistic value it does
not have an appeal to the audience. When it is done with additions
and artistic presentations they will be appealing and enjoyable.
vi.
KUTIYATTARI
..
KLitiyZt
. ..tam. of Kenla is the only s~irvivingfonn of traditional
. VID~SAKA
Vidtisaka played an important role in keeping alive the
The period that followed was the golden age of Sanskrit theatre
with the cmergcncc of classi:al dramatist like Kajidasa, ~ i i d r a k a
and others. By 6c. AD thc t leatre began to stagnate. It showed
signs of decline from 1 1 c. AD.
The history of Sanskrit theatre in Kerala presents a different
picture. During the golden age it had no influence in the south. It
begins to appear by 6 c. AD. It began to flourish from 1 1 c. A D
while it was on the verge of decline in the North.
MattavilZsa (7 c. A.D) is perhaps the earliest work produced
in the south. It reveals the standard that the pallav2s had attained in
n i be the first drama
theatrical performance. A i ~ a r ~ a c i i d z m amay
written in Kerala which is very much popular with the Cikyirs.
T h e n c a m e K a l y i r . ~ a s a ~ ~ g a n d h i koaf ~ T l a k a v d h a k a v i ,
Subadrzdhanaiijaya and ~ a ~ ) a t i s a ~ ~ vofa KulaSEkhara
ra~a
( 1 1 c.
AD). He formulated a schenie for the presentation of his dramas
with the help of a brahtnin scholar in his court. The schemes viz.
Dhanaiijayadhvani and Sapvaranadhvani are known under the
common title of Vyaig!iavyakhy5 which gives valuable
information about the stage practices of that time . Many Sanskrit
KLJTIYATTAM
Kiitiygttam
. .. . was one way of presenting Sanskrit dramas. There
were other methods also. This is clear from the introductions of
several dramas produced : n Kerala. M a n y plays such a s
~ a n i a l k r r ~ j a h a r y s~Ttaraghava
a,
were composed on the instruction
of the rulers for presenting during temple festivals. But they were
not presented according to the riode ofpresentation of KLitiyZttam.
.. .
Cakyars accepted only 2; couple of dramas to their repertory.
Thcy prcpal-cd elaborate acting manuals for the dramas selected by
them. Only a handful of drama:; got the good fortune to be presented
on the KLitiyZttam stage. Sc:holars are not unanimous in their
..
opinion regarding the number of dramas used for Kiitiyiittam.
Some give exaggerated nun1b:rs. One reason is that separate acts
used by Ciikyiirs were countej as independent productions. Any
how the actual number of dramas chosen by the Kerala actors for
performance on the Kiifiyiittam
., stage does not exceed twenty.
2. Buddhist influence
NilgZnanda
3. Farces
MattavilZsa and
Bhagavadajjuka
4. Thirteen plays ascribed to 1-
Dfitaviikya
Karnabhlra
3.
Urubhariga
4.
Paiicarltrn
5.
AvimZraka
6.
Pratijiilyaugandhariya>a
7.
Ciirudatta
8.
Bzlacarita
9.
PratimZnZtaka
10. ~ a d h ~ a n i a v ~ i i ~ 6 ~ a
1 1 . Abhiseka
12. Svapnaviisavadatta
13
DGtaghaf6tkaca
It seems that Kerala act$,rs were not fascinated by the charm
x. THEATRE CRITICISM
The 15th century NatiItikuSa indicates the changes occurred in the
conduct of actors. The royal patronage and freedom to criticize
might have intoxicated them. 'The critics act as corrective force and
the arbitrary acts of the cZky5rs were strongly criticized. The
lengthy accounts dealing with different branches of learning,
introduction of obscenity, ad:nixturc of the regional language and
the stylised tone adopted while speaking Malayalam and the
disregard to the canons of hEfya6Sstra were subjected to severe
criticisni.
Only one act was enicted on one day or night due to the
lengthy excursion .So separate nirvahana and n3ndi became
necessary. Nat ZiikuSa criticices this practice also. In reply to these
criticisms the cakyzrs pointec out the permissive directive to enlarge
or extend the application of Elharata's directions. What NatinkuSa
insists is that changes shouli be made without detrimental to the
flow of rasa, propriety and the requirement of proportion.
Now this precious cu'tural heritage has got wide popularity
even in foreign countries. K i i i y 5 t..
t a m. is being conducted in
KEralakalZrnandalarn,
..
Arnrnanniir C5ccu c3ky3r Memmorial
Gurukulam and MZni Miidhavaciikyzr Gurukulam. Besides,
Nafanakairaji Irii~galakkuda;Margi Thiruvananthapurarn;
REFERENCE
1.
~ s.t.i i d h ~ i i yChapter
i,
- I'V, I11 - 110
i%qpqEir
w.kplT*
IV, 111 - 1 l o
IV, I11 - 1 1 1
2.
MahZbhZsya 111. 1 - 26
3.
m i 4 + r h : l%TT
bm
ddmfh&t?;9ri~iae,11
=I4-Gmmls-Q T
m
i ?J*I
?E4QTR?
v 3 J r i ~ h F b-.i 4 1N.S.
1 1. 11-12
m
-
i&a~
N.S. 1-17
-,&$%I
5.
-prnamjwg3
7+2+wImi mij m %TI
~ d m f k i m R i $ y 4 ? +
d f+wd+m
PI-+ umm=q~~
(Miilavikiignimitra - Act 1 - 4)
6.
7.
Sekhar I., Sanskrit Elrama : Its Origin and Decline Munshiram Manoharlal publishers, New Delhi - 1977.
Ch. 1V- P.54
8.
q q dm TW$*
*<~F;T
Dasarupaka I, Chowkhamba
. z w h IFT
10.
rn+iuiw=d
mvmircwMmik~~
%IyWrn*;rnJ&
yh-!
I1
E~ETFWT*
II
NS XVIII-2-3
14
15
Pai~loseK.G., Kiitiyiittam
. .. .
Abhinayattinte Tufarccayum
$ t 4 ~ ~ & t m i ~ 1 1
Animaman Thampuran, Kiittir~?~
KiirlyzTrJavum,
Mathrubhumi publications. P. 7
17 NatiiAkuia - A critique on Dramaturgy, Edited by Paulose
K.G., Govt. Sanskrit College, Tripunithura, 1993. Intro. P.27
18
19