9. Structure of the Natyashastra

CHAPTER WISE IN BRIEF, THE Natyashastra HAS BEEN STRUCTURED AS FOLLOWS :NATYOTPATTI Chapter I describe the origin of Natya, necessity to uplift the values in the society and social commitment of the leaders. MANDAPAVIDHANA In this chapter the construction of the Natyagriha is explained. A healthy discussion on caturvarnya is done here. One could see a great architect in Bharata here. RANGADAIVATAPUJAVIDHANA The third chapter is on the worship of the various deities of the stage. The ritualistic side of Natya, which is a yajna itself, is described. Pleasing various deities is the aim of rangapuja. TANDAVALAKSANA Characteristics of Tandava dance, different angaharas, karanas and recaka are described in the fourth chapter. PURVARANGAVIDHANA The subject matter of the fifth chapter is Rites of the prologue. The definition of purvaranga, nandi, gati, introduction of sutradhara and pariparsvikas and five types of dhruvagitis are narrated. 61

RASAVIKALPA AND BHAVAVYANJAKA Sixth and seventh chapters deal with sentiments, emotions and comprehensional appreciation. UTTAMANGABHINAYA The Gestures of the head are described in chapter VIII. A person knowing specific behaviour pattern only can precisely enlist these movements. HASTABHINAYA Chapter IX deals with the gestures of the hand. Gesture begins where vocabulary ends. Even the meanings that cannot be conveyed through words can be conveyed through gestures. It adds beauty to the art form also. SARIRABHINAYA limbs The Gestures of the hands are followed by the gestures of the CARIVIDHANA The cari movements are described in chapter XI. Different types of caris like Akasacari, Bhumicari etc are described. MANDALAVIKALPANA Chapter XII deals with the mandala movements. Status of the body with reference to a particular plane is known as mandala. 62

GATIPRACARA Chapter XIII describes different gaits (gati) KAKSYAPRAVRTTIDHARMIVYANJAKA Divisions, uses and conventions are described in chapter XIV. The region in which the event takes place, the information on the regions. of the earth, dramatic conventions like Lokadharmi and Natyadharmi are described here. VACIKABHINAYA A complete elaboration of Vacikabhinaya can be seen in the chapters form XV to XXI. VRTTIBHEDA Vrttis or modes of expression, employing suitable vrtti for the promotion of rasas are described here. AHARYABHINAYA Importance of make up and costume, details of ornaments for men and women etc are described here. SAMANYABHINAYA Satvikabhinaya or expression through responsive emotions, types of graces in women and men are described. I 63

VAISIKA Vaisika or expert in dealing with courtesans and his thirty characteristics, types of female emissaries and their qualifications are described. CITRABHINAYA Abhinaya of the seasons, General rules of abhinaya etc are described in chapters 28 to 33 deal with the siddhivyanjakas. Types of success of production, qualities of success, properties of music, use of melodies according to the rasa, dhruvasongs, different types of string instruments etc. are described. PRAKRTIVICARA The nature of heroes and heroines is described. BHUMIKAVIKALPA Distribution of notes to actors and actresses their physical feature etc are dealt with in this chapter. NATYAVATARA It describes the story of Nahusa inviting the sons of Bharata to the earth, descent of drama to the earth, origin of families of actors, the greatness of Natyaveda and final benediction. 64