The Sanskrit drama : $b in its origin, development, theory and practiceKeith, Arthur Berriedale
History
The Sanskrit drama : $b in its origin, development, theory and practice
Keith, Arthur Berriedale
Sanskrit drama -- History and criticism
The Nāṭyaçāstra [719] prescribes an elaborate series of preliminaries
(pūrvaran̄ga) which must be performed before the actual drama begins;
they are intended to secure divine favour for the performance, each act
having a definite share in the result, and doubtless they present us
with a reminiscence of the early theatre in the mingling of music,
dance, and song. First there is the beat of drum (pratyāhāra)
announcing the beginning of the performance, and the carpet is spread
out for the orchestra; the singers and the musicians then enter and
take their places (avataraṇa): then the chorus try their voices
(ārambha); the musicians try their instruments (āçrāvaṇā); they tune up
their wind and string instruments, and manipulate their hands to make
them ready for the work; then an instrumental concert follows,
succeeded by the appearance and practice steps of the dancers. [720] A
song follows, to please the gods; then the Tāṇḍava is performed,
increasing in violence as it proceeds; then a song accompanies the
raising by the Sūtradhāra of the banner (jarjara) of Indra; he scatters
flowers and purifies himself with water from a pitcher borne by an
attendant, while another carries the banner; there follows a
perambulation of the stage, the praise of the world guardians, and
homage to the banner. Then comes the Nāndī or benediction; it is
followed by the recitation by the Sūtradhāra of a verse in honour of
the god whose festival it is, or the king or a Brahmin; then comes the
Ran̄gadvāra, which is said to mark the beginning of the dramatic action
(abhinaya), the Sūtradhāra reciting another verse, and bowing before
the banner of Indra. There follow steps and movements of erotic
character (cārī) in honour of Umā, and more violent movements of the
same kind in honour of the Bhūtas. A discussion (trigata) between the
Sūtradhāra, the Vidūṣaka, who talks nonsense, and an attendant follows.
Finally the Prarocanā announces the content of the drama, and the
Sūtradhāra and his two attendants leave the stage, and the
preliminaries are ended.
Public-domain text, read in full here on John Shaqi.
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