The Natyashastra is an ancient
Indian treatise on the performing arts, attributed to the sage Bharata Muni.
Dating back to between the 2nd century BCE and the 2nd century CE, it is
considered the foundational text of classical Indian dance, drama, and music.
The Natyashastra outlines the principles and techniques of performance and sets
standards for stagecraft that are still revered in Indian performing arts
traditions today. Here’s a detailed look at its essential components:
1. Structure and Scope of the Text
The Natyashastra
contains 36-37 chapters (depending on versions) and about 6,000 to 7,000
verses. It covers a wide range of topics, from dramaturgy and stage design to
makeup, costumes, and the intricacies of emotions and gestures. The
comprehensive nature of the text reflects an effort to encompass all elements
of the performing arts, making it one of the earliest encyclopedias on the
subject.
2. Origins and Divine Purpose
According to
legend, Bharata Muni received the Natyashastra directly from Brahma, the
creator god in Hindu mythology. Brahma is said to have created Natyaveda, or
the "fifth Veda," combining elements from the four other Vedas:
recitation (Rigveda), music (Samaveda), acting (Yajurveda), and rasa, or
aesthetic flavor (Atharvaveda). This divine origin story highlights the text's
sacred purpose: to entertain, educate, and enlighten, providing a means for
spiritual and emotional elevation.
3. Rasa Theory
Central to the Natyashastra
is the theory of rasa, which refers to the emotional essence or flavor evoked
by a performance. There are eight primary rasas, which later expanded to nine (nava
rasas). These rasas include:
- Shringara (love)
- Hasya (humor)
- Karuna
(compassion)
- Raudra (anger)
- Veera (heroism)
- Bhayanaka (fear)
- Bibhatsa
(disgust)
- Adbhuta (wonder)
- Shanta
(serenity), which was added later
Each rasa
corresponds to a bhava (emotion) that the actor or dancer must evoke. The goal
of a performance is to stimulate the viewer's emotional experience through
these rasas, leading to a sense of catharsis or ananda (bliss).
4. Abhinaya: The Art of Expression
Bharata divides abhinaya
(acting or expression) into four types, crucial for conveying emotions and
narrative:
- Angika Abhinaya:
Expression through body movements, including gestures and postures.
- Vachika Abhinaya:
Expression through speech, covering dialogue delivery, intonation, and
musicality.
- Aharya Abhinaya:
Expression through costumes, makeup, and props, highlighting character traits
and mood.
- Satvika Abhinaya:
Expression through internal emotions and feelings, depicted via facial
expressions and physiological responses (like blushing or trembling).
This systematic
approach to expression highlights the depth of characterization expected in
classical Indian drama and dance.
5. Types of Performances and Drama Forms
The Natyashastra
categorizes drama into several forms and types, emphasizing structure and
themes. Notable forms include:
- Natya: Drama
with dance and music, often mythological.
- Nritya:
Dance-drama emphasizing emotion.
- Nritta: Pure
dance without narrative or emotion, focusing on rhythm and technique.
Bharata describes
10 major types of plays (dasa-rupakas), such as nataka (heroic dramas) and prakarana
(social dramas), each with specific structural and thematic characteristics.
6. Stage Design and
Theatrical Space
The Natyashastra
includes guidelines on stage construction, sizes, and shapes, adapted for
various types of performances. It prescribes three types of theaters:
rectangular, square, and triangular, detailing stage elements like the rangashirsha
(stage area), rangapitha (background space), and audience seating. The careful
arrangement ensures the ideal viewing and auditory experience for the audience.
7. Music and Musical
Instruments
The text discusses
music in detail, recognizing it as integral to performance. It explores scales
(swaras), rhythm (tala), and melodies, describing how different musical styles
can enhance the emotions within a performance. Bharata lists various
instruments, including:
- Stringed
instruments (like the veena)
- Percussion
instruments (such as the mridangam)
- Wind instruments
(like the flute)
Music's role is to
complement the emotions and movements, enriching the audience’s emotional
journey.
8. Costumes, Makeup, and Aesthetics
Costumes and
makeup play a vital role in character portrayal, with specific colors,
materials, and styles associated with different characters and emotions. Aharya
Abhinaya is particularly influential in classical dance forms like Bharatanatyam
and Kathakali, where elaborate costumes and makeup are essential for character
distinction and thematic expression.
9. Ethics and Morality in Performance
The Natyashastra
emphasizes the ethical responsibility of the artist. Performers are expected to
uphold moral standards, as their influence is seen as powerful enough to shape
societal values. It also encourages a performer to be disciplined, spiritually
attuned, and respectful toward the art form.
10. Impact and Legacy
The Natyashastra
remains foundational to the development of Indian dance and drama, influencing
forms like Bharatanatyam, Kathak, Kathakali, and Odissi. Its concepts,
especially the rasa theory, continue to resonate across Indian art, literature,
and cinema, demonstrating its timeless relevance.
In essence, the Natyashastra
presents a comprehensive and systematic framework for the performing arts,
integrating aesthetic, ethical, and spiritual dimensions. Its emphasis on
evoking emotional and spiritual experiences in the audience has not only shaped
Indian performance arts but also contributed significantly to global
discussions on aesthetics and the purpose of art.
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