Dasarupaka (critical study)
by Anuru Ranjan Mishra | 2015 | 106,293 words
This page relates ‘technical aspects of a Prahasana’ of the English study of the Dasarupaka of Dhananjaya: an important work on Hindu dramaturgy (Natya-shastra) from the tenth century dealing with the ten divisions of Sanskrit drama (nata), describing their technical aspects and essential dramaturgical principals. These ten types of drama are categorised based on the plot (vastu), hero (neta) and sentiment (rasa)
Part 11 - The technical aspects of a Prahasana
The Mattavilāsa has applied the technical aspects like:
- intimation scene (cūlikā or nepathya),
- prologue (prastāvanā),
- aside (svagata or ātmagata),
- aloud (prakāśa) and
- epilogue (bharatavākya).
There is no use of explanatory scene (viṣkambhaka) and also there is no benedictory verse (nāndī), before prologue (prastāvanā) but the stage manager recites the benedictory verse, at the begging of the prologue.
Prologue (prastāvanā) –
Generally the prologue comes after the benedictory verse, which is conducted by the stage-manager (sūtradhāra) and actor (naṭī) or establisher (sthāpaka) or jester (viduṣaka). It gives information about the play, author etc. in an amazing way. In the Mattavilāsa, prastāvanā is said as sthāpanā. Here Sūtradhāra and Naṭī have conducted the sthāpanā. Before the introduction of the play and the author, Sūtradhāra recites the benedictory verse (bhāṣāveṣavapuḥ………kapālī yaśaḥ - verse.1), which should occur before the prologue.
Aside (svagata or ātmagata) and Aloud (prakāśa) –
When the actor utters the dialogue for both audiences as well as for co-actors and the same is audible, it is called aloud, but when the actor utters the dialogue and the same cannot be audible, it is called aside. These two terms are applied in the Mattavilāsa somewhere though not frequently.
Intimation Scene (cūlikā or nepathya) –
Intimation scene is of the five types (arthopakṣepaka) and is also called cūlikā. It is used frequently as nepathya, as the Intermediate speech comes from behind the curtain, which explains some important matters by any character. Generally, this technical item is used frequently in all type of dramas. This term is also used in the Mattavilāsa in some places.
Epilogue (bharatavākya) –
At the end of the drama there should be an auspicious verse called “Bharatavākya”, which is the final benediction or praise (praśasti) coming at the end. One of the actors, in chorus with other actors, sings it to mark the end of the dramatic enactment. In the Mattavilāsa, the epilogue has the significant role in the drama, which is prayed to fire, Brahmin, cows and the king who protect the people performing their duty (śaśvad bhūtyai prajānām………śatrumallena lokaḥ).