Part 11 - Technical Aspects of a Ḍima

The Tripuradāha of Vatsarāja contains the technical aspects like:

1. benedictory (nāndī),
2. prologue (prastāvanā),
3. intimation scene (nepathya),
4. interlude scene (viṣkambhaka),
5. aside (svagata),
6. aloud (prakāśa),
7. confidential (apavārita) and
8. epilogue (bharatavākya).

Benedictory (Nāndī):

The benedictory (nāndī) verses are used for the welfare of the audience and the actors. The poet usually prays to his god through the beneictory [benedictory?] verses, which may bring the grace of deity. In the Tripuradāha, the author Vatsarāja has prayed to lord Shiva to remove the pain and to protect people from the enemy.

Vatsarāja has given Nāndī of three verses

1) “parikaritamindumaulerjayati..,”

2) “piṅgaiḥ kurvankujamayamiva vyoma..,” and

3) “dhūmairghyāmalayanmukhāni...”

Prologue (Prastāvanā):

The prologue (prastāvanā) is the introductory part of the drama, conducted by the Sūtradhāra and Naṭī, Vidūṣaka or Sthāpaka and comes after the Nāndī. In the Tripuradāha, Vatsarāja has used Sūtradhāra and Pāripārśvika to manage the prologue. Both of them have introduced the plot indirectly through the comic conversations. The character of Nārada enters with angry mood, when Pāripārśvika praised demons that they were stronger than the gods like Rāhu who even without the hands and body troubled the moon.

Intimation scene (Nepathya):

The intimation scene (nepathya) constitutes one of the five types of intermediate scenes (praveśaka, viṣkambhaka, cūlikā, aṅkāsya and aṅkāvatāra)and also is called cūlikā or intimation scene. It presents off-stage events through any character for the actors present on the stage. All type of dramas use this intimation scene, as it is not possible to present all the scenes on stage. In the Tripuradāha too Vatsarāja has used it as per the necessity.

Introductory scene (Viṣkambhaka):

The introductory scene (viṣkambhaka) also constitutes one of the five types of intermediate scenes (praveśaka, viṣkambhaka, cūlikā, aṅkāsya and aṅkāvatāra). The scene introduces the past and the future events. In the Tripuradāha, Vastaraja has used it in every act except the third act, which describes the future events. In the Viṣkambhaka of the first act, Nārada decides to make the gods angry against the demons after the altercation with Rāhu. In the Viṣkambhaka of the second act, the attendants of Tripurāsura decide to instigate Maheśa, Brahmā and Viṣṇu to quarrel with each other. Again, in the Viṣkambhaka of fourth act, Śukra and Viśadāśaya become worried, thinking about the words of Tripurāsura, because, the gods are united to kill them. Therefore, Śukra was finding the ways and means to protect them.

Aloud (Prakāśa) and Aside (Svagata):

The aloud (prakāśa) and aside (svagata) are the two technical terms used frequently in every drama by authors. The dialogues, which are heard, by the audience and the co-actors are called aloud (prakāśa). The dialogues, which are not heard, by the audiences and the co-actors but which are uttered to oneself, are called aside (svagata). These two are also used in the Tripuradāha frequently by the author.

Personal address (Apavārita):

The personal address (apavārita) is the conversation with another actor making aside from the co-actors on the stage. This technical term is used in the Tripuradāha twice in the third act, by Nandī, for Kārtikeya, when he was fighting with the demons.

Epilogue (Bharatavākya):

The epilogue (bharatavākya) is the concluding prayer in general, performed at the end of a drama by an actor or more than one actor to conclude the dramatic enactment. In the Tripuradāha, the character of Indra recites the epilogue verse for the sake of all.

He prays to Śiva to protect the people from the folly and darkness and to be present in the heart of good men:

cūḍācandrāvadātena ……hṛdayam satām.