Introction to Sanskrit Drama

In Sanskrit Literature, Kāvya is the generic name comprising all forms of poetical compositions in Saṃskṛta. Two species of Kāvya are recognized: audio-visual (dṛśya) and aural (śravya). Of the audio-visual again there are two classes: drama or Nātya, and representation by gestures with a musical background or Nṛtya.

Drama is the reproduction of certain situations so as to induce in the spectators a sense of identification with the hero and other characters by the way the actors render them.^[1] Thus drama is literary piece written for representation on the stage, say, it is largely for a theatre; and the theatre is a place where people meet to hear the dialogue and to see the action of the play or representation by actors.

Bhārata defines representation as that are of an actor by means of which he re-creates the sentiments (rasa) inherent in the original situation forming the theme of the drama under enactment.^[2] Such sentiments are so re-created that a spectator of taste could only resonate with them. Representation is possible in four ways: physical, verbal, decorative and emotional.^[3]

The Nāṭya is also technically known as rūpa or a show because it is a scene. Accordingly it is called a rūpaka, for it contains the assumption of parts by characters.^[4] There are ten kinds of Rūpakas which are known as Nātaka, Prakaraṇa, Bhāṇa, Vyāyoga, Samavakāra, Dima, Ihāmṛga, Utsrtānka, Vīthī and Prahasana. Of these types Nāṭaka and Prakaraṇa are popular among playwright. A special reference to their constitution is, therefore, necessary.

Footnotes and references:

[1]:

Nāṭyaśāstra XIX-22; Sāhityadarpaṇa VI-64; Mālatī-Mādhava p. 60, 27; Nāṭaka-lakṣaṇa-Ratnakośa 131; Bhāva Prakaśa p. 204, 21; Nāṭya-Darpaṇa p. 28.

[2]:

Ibid. et seq; P. R. p. 106, 5; Daśarūpaka I-17a.

[3]:

Chaya p. 296–note 1.

[4]:

Nāṭaka-lakṣaṇa-Ratnakośa 139.