Global Journal of Human-Social Science, A: Arts and Humanities, Volume 21 Issue 12

Volume XXI Issue XII Version I 48 ( ) Global Journal of Human Social Science - Year 2021 A © 2021 Global Journals The Indian Theory of Drama ( Abhijnana Ś akuntalam is a sublime example of the Indian theory of Drama). c) Abhinaya Here drama is conceived only that one can represent on stage; it is not simply which is found in the text: that simply a written text is called script. Along with text, N ā tya includes so many other things, especially drama, dance, music, both vocal and instrumental, and Abhinaya (derived from the root n ī means to take or carry +abhi means towards= to carry performance towards spectators). It is not simply 'acting,' but other things that go to make up the medium of expression. Bharata provides the most sophisticated and detailed description of abhinaya which consists of The Gestures of The Head (chapter VIII), The Gestures of the Hands (chapter IX), The Gestures of other Limbs (chapter X), The C ā ri Movements (of the limbs like feet, shanks, thighs and lips) (chapter XI), The Ma ṇḍ ala Movements for the discharge of weapons (chapter XII), The Different Gaits (chapter XIII), Generic Representation (chapter XXIV), The Arts of Courtesans (chapter XXV), and The Special Representation or C ī tr ā bh ī naya (chapter XXVI). These description are mind blowing and unmatched in its style and subtleties. The limited scope of this paper does not allow me to go into details. I would like to acquaint the readers with a general idea of abhinaya. Here Abhinaya means transferor of meaning, and its multi-channeled world has taken over whether in language theories (Saussure onwards), performance studies (Schechner onwards), and recently even in psychology and education (Howard Gardener). (Gupta X) Abhinaya with all its sub-varieties of physical gestures is of four kinds (see chapter VIII),: the first is Āṅ gika or physical abhinaya (Expression of the limbs); the second is V ā cika or verbal abhinaya (Expression of speech); the third is Ā h ā rya or non-verbal abhinaya (Costume, make-up, and scene); and the fourth is S ā ttvika or emotional abhinaya (True expression), which is a manipulation of Bh ā va . These four types of countenances lead spectators towards experiencing rasa. Āṅ gika and V ā cika need some elaborations here. Āṅ gika or "bodily acting" should be seen under three heads: (1) physical gesture (six main limbs- hands, chest, sides or hips, waist, and feet), (2) facial expression (conveyed by eyes, eyebrows, nose, lips, cheeks, and chin) and (3) posture or movements Cesta there are thirteen kinds of movements, each conveying a meaning). The Āṅ gikabhinaya chapters have to be understood as body-language in contemporary language and not merely as gesticulation, poses, and postures, as has often been done. (Vatsyayan 59) The next V ā cika concerns more with voice- control (as in Body acting, body control is more important) than speaking or language. The author of N ā tya śā stra says that in drama, speech-language is of four varieties by the social standing of the character on the one hand and the part of the country to which he belongs. Thus there is atibhasa (grandiloquent language), Aryabhasa (the refined speech of kings and aristocracy), Jatibhasa (mother tongue of ordinary folk), and the Mlechabhasa (the corrupt language of foreigners and low born). (Rangacharya 1996 31) As for as actors are concerned, along with intelligence, strength, and physical beauty, they are supposed to have considerable knowledge of everything required on the stage. The physical strength in the actor is a universally accepted concept, be it theatre or in movies. In Artaud’s imagination, as might indicate, for example his notion of the actor is as an “affective athlete,” the basis of whose performance is breath control. (Lyne Bansat-Boudon 56) Instructed by gods and sages, the actors should possess knowledge of time and tempo, appreciation of sentiments and emotions, experts in rituals, flawless recitation, a retentive memory, knowledge of music, dance and other arts, etc., for they are to be judged by critics for the merits and demerits of their works. They should also avoid the following faults: Unnaturalness in acting, incorrect movement, unsuitability for a role, forgetfulness, improper use of gestures, defect in costume and ornaments, defect in the rhythm of execution, improper projection, and excessive laughter or weeping. The strength of their actions lies in their equal emphasis on theory and praxis, which is a general principle of the N ā tya śā stra . Kapila Vatsyayan points out this aspect: “ N ā tya- śā stra does not consider śā stra and prayoga (theory and praxis) as antonyms or in opposition. Instead Bharata asserts at the very outset that he is writing a prayoga śā stra” (41-42). d) Types of Drama Indian dramaturgy does not recognize any classification based on the end of the drama, and there is no such thing as a happy or a sad ending. A drama, therefore, in Indian tradition does not convey any conflict. The western theory of drama, derived and conditioned by Aristotle, is essentially the theory of tragedy. M. S. Kushwaha draws our attention to the fundamental difference between the Western and Indian theories of drama that while the Greek concept of tragedy is based on the tragic sense of life, “Such conception of drama… is alien to Bharat’s view, which is based on the Indian theory of karma ”. This fundamental difference “determines their respective approaches to drama.” (9) The western classification of drama as tragedy and comedy, based on a dialectical view of nature, is inconceivable in the holistic pattern of Indian thinking. Kushwaha further illuminates: Though Bharata, too, speaks of ten kinds of plays, his classification is totally of a different order. It is based purely