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W2.3 - Daśarūpaka: Ten dramatic forms - Part I -Exploring Bharata's Natyashastra and Drama Forms
Sep 4, 2024
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Lecture on Bharata's Natyashastra and Dramatic Forms
Introduction
The lecture covers 10 dramatic forms (Rupakas) mentioned in Bharata's Natyashastra.
These forms are meant to be visual art forms.
The 10 forms include:
Nataka
Prakarana
Bhaana
Vyayoga
Samavakara
Dima
Ehamrga
Anga
Veethi
Prahasana
Nataka
Considered the highest form of drama.
Based on well-known stories.
Hero is often a great king, embodying virtues like beauty, nobility, courage, and power.
Consists of 5 to 10 Ankas (acts).
Features various Rasas (aesthetic emotions), with a dominant Rasa, often Sringara (erotic) or Veera (heroic).
Exceptions:
Karuna Rasa in some works.
Subplots conclude before the main plot ends.
Metaphor: Tail of a cow.
Stages of a Hero's Journey in Nataka
Aramtha
- Beginning
Yatna
- Effort
Praptiyasa
- Possibility of Success
Niyatapti
- Certainty of Success
Palagama
- Achievement of the Goal
Plot Structure (Santhis)
Mukha
- Opening
Pradimukha
- Development
Garbha
- Center
Vimarsha
- Struggle
Nirvahana
- Conclusion
Plot Elements
Bija
(Seed)
Bindu
(Drop)
Karya
(Result)
Prakari
and
Pataka
(Interludes)
Example: Abhijana Shakuntala by Kalidasa
Bija:
Act 1, verse 11 - Aim for a son who becomes a universal monarch.
Bindu:
Act 2 - Restores story flow.
Karya:
Act 5 - Discovery and recognition of the son.
Prakarana
Commonplace topics, product of poetic imagination.
Dominant Rasa: Sringara.
Hero: Minister, Brahman or Merchant.
Heroine: Libertine or Noble woman.
Example: Sudraga's Mircha Kadiga.
Distinction between Nataka and Prakarana
Nataka:
Heroic ideal, focuses on kings and dharma.
Prakarana:
Mirror to the world, society's rank and file.
Source:
Ramayana and Mahabharata vs. Brihat Katha.
Bhaana
Derived from "Paan," meaning to speak.
Monologue by a single actor with various characters and situations.
Only two Sandhis: Mukha and Nirvahana.
Examples: Upaya Apisarika, Patma Prabhartaka, Dhurta Vitta Samvada.
Example: Dhurta Vitta Samvada
Narrator spends wealth on gambling and liquor.
Set in rainy season.
Desires amusement, ends up in courtesans' street.
Joins discussion on awkward problems of sex act.
Conclusion
The lecture provides insight into the structure and themes of classical Indian drama as outlined by Bharata in the Natyashastra.
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