Dramaturgy in the Venisamhara

by Debi Prasad Namasudra | 2016 | 70,412 words

Hinduism Natyashastra

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Summary: This essay sudies the practical application of Sanskrit Dramaturgy in the Venisamhara of Bhatta Narayana: an extraordinary drama in Sanskrit literature which revolves around the great war of Mahabharata within six Acts. This study deals with the author, background and the technical aspects involved in the Venisamhara, (such as the dialogues, hero, sentiment and characterizations), reflecting the ancient Indian tradition of dramaturgy (Natya-Shastra).

Source 1: exoticindiaart.com
Source 2: shodhganga.inflibnet.ac.in

Contents of this online book ( + / - )

The full text of the Dramaturgy in the Venisamhara in English is available here and publically accesible (free to read online). Of course, I would always recommend buying the book so you get the latest edition. You can see all this book’s content by visiting the pages in the below index:

Acknowledgement

+ Chapter 1 - Introduction

. Life and date of Bhaṭṭa-Nārāyaṇa

. Study Conducted on Veṇīsaṃhāra

. Purpose of the study

+ Chapter 2 - Nature and Classification of Sanskrit Drama

. Introction to Sanskrit Drama

. Description of Nāṭaka

. Description of Prakaraṇa

. Description of Bhāṇa

. Description of Vyāyoga

. Description of Samavakāra

. Description of Ḍima

. Description of Īhāmṛga

. Description of Utsṛṣṭāṅka

. Description of Vīthī

. Description of Prahasana

+ Chapter 3 - A general outline of Veṇīsaṃhāra

. Veṇīsaṃhāra: First Act (summary)

. Veṇīsaṃhāra: Second Act (summary)

. Veṇīsaṃhāra: Third Act (summary)

. Veṇīsaṃhāra: Fourth Act (summary)

. Veṇīsaṃhāra: Fifth Act (summary)

. Veṇīsaṃhāra: Sixth Act (summary)

. Veṇīsaṃhāra as a Drama

+ Chapter 4 - Dramaturgy in Veṇīsaṃhāra

. Artha-Prakṛtis (five elements of plot)

. Vṛtti (mode of conduct)—Introduction

. Kaiśikī-vṛtti (delightful vivacity and charming expression)

. Sāttvatī-vṛtti (noble qualities and righteousness)

. Ārabhaṭī-vṛtti (fierce fights and outrageous deeds)

. Bhāratī-vṛtti (eloquent bearing)

. Vṛtti (Bearing) and Diction

. Rasa (aesthetics)—Introduction

. Vyabhicārī-bhāvas (Transitory States)

. Sāttvika-bhāvas (Involuntary States)

. Sthāyī-bhāvas (Lasting Emotions)

. Discussion on Emotion (Sthāyīn)

. Rasa-carvaṇa (The relish of Rasa)

. Śṛṅgāra or Ādya-rasa (The Erotic Sentiment)

. Vipralambha-Śṛṅgāra (Disunion)

. Sambhoga-Śṛṅgāra (Disunion)

. Karuṇa Rasa (the pathetic sentiment)

. Raudra Rasa (emotion of wrath)

. Vīra Rasa (emotion of zeal)

. Hāsya Rasa (humorousness)

. Bhayānaka Rasa (state of fear)

. Bībhatsa Rasa (disgust)

. Bībhatsa Rasa (Disgust)

. Adbhūta Rasa (the marvellous sentiment)

. Śānta Rasa (the quietistic sentiment)

. The Relationship of the different phases of Rasas

. Abhyāsa: Psuedo-Suggestion

. Vṛttas (syllabic metres)

. Arthopakshepakas (modes of Introduction)

. The Hero of the Dramatic Play

. The Heroine of the Dramatic Play

. Patākā-Sthānaka

. The Usage of Language in a Drama

. Modes of Addess in a Drama

. Description of Ātmagata

. Description of Ākāśabhāṣita

. Description of Apavārita and Janāntika

. Sandhi (the combination of different phases)

Chapter 5 - Major findings and Concluding observations

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Last Updated: 06 November, 2023

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