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

© 2021 Global Journals Volume XXI Issue XII Version I 49 ( ) Global Journal of Human Social Science - Year 2021 A The Indian Theory of Drama on the differences in the styles ( v ṛ iti ) of composition and has nothing to do with naturalistic considerations. The drama, as Bharata takes it, represents human nature “with its joy and sorrows (1.121)”. Both tears and laughter play an integral part in his conception of drama. If it resembles anything in Western dramatic literature, it is tragicomedy like Shakespeare’s As You Like It or The Merchant of Venice . (10) In this context Indian concept of drama, unlike the Greek concept, discards the fictional unity of action, time and space. It is the unity of impression which has to be carefully calculated before it is produced. (Ghosh xlv). The emphasis is not to present too many incidents. Drama is the imitation of a situation ( avasthanukriti natyam ), and it is called a show ( r ū pa ) because it is seen ( r ū pam drsyatayocyte ). To standardize the existing primitive forms of drama (which was not considered literature in this sense), Bharata evolved new forms. Bharat speaks about ten kinds (da ś a r ū paka ) of plays in chapter XX. These da ś a - r ū pakas are major forms of drama; there are some minor forms of drama which are called up-r ū pakas . These da ś a-r ū pakas are traditionally associated with certain modes of representation or style of representations or v ṛ ttis . Bharata recognizes four v ṛ ttis ; (a) bharati , i.e. verbal-duel, (b) s ā ttvati , i.e. grand and noble deportment, (c) kaisiki, i.e. graceful and lyrical, and (d) ā rabhat ī , i. e. strong and energetic. The V ṛ ttis are the ways of rendering a scene; or, the acting styles and the use of language, diction that different characters adopt in a play, depending upon the nature or the Bh ā va that relates to the character. (Sreenivasarao) The root cause of ten types of drama lies in the Vastu (plot), Neta (character) and Rasa ( वा�ु , नेता रस�ेषां भेदक :). Rasa is the foremost component, and the manifestation of Rasa is the main criterion of poet’s success. Following are the names of ten types of plays, their names, (1) the Nataka, (2) the Prakarana, (3) the Anka, (4) the Vyayoga, (5) the Bhana, (6) Samavakra, (7) the Veethee, (8) the Prahasan, (9) the Dima and (10) The Ihamriga. Dhanik-Dhananjay in their treatise Da ś r ū paka explains that these forms are based on the ten Rasa (sentiments). The following table is quite useful to understand these forms and their characteristics (serialization and some of the appropriate examples, here, are based on Radhavallabh Tripathi’s lecture on YouTube): Sr. no. Form of Drama Number of Acts/ characters Protagonist Prominent Rasa Associated v ṛ ttis Nature of story and scenes Examples 1. The Nataka (regarded as the best, most important and complete form of Rupa ) Five to ten/ Not more than five or six characters should have useful roles. Royal sage, noble hero or Dh ī roddh ā tta and Dh ī ralalita/ Great heroines of celestial natures Śṛṅṛ g ā ra (love) or vira (heroic) (All rasa may be present.) Presents all four v ṛ ttis for depicting different types of diverse situations. ( Kai ś iki and S ā ttvati are more suitable) Well-known story in idealized form with supernatural and noble sentiments; fierce scenes or scenes bordering on vulgarity are prohibited. Abhijñ ā na śā kuntalam Uttarar ā macarita 2. The Prakarana Same as above Brahmin or a minister or a merchant or a soldier ( Dhiraprasant a )or even a social parasite ( Vita )/ A courtesan could also be the heroine Śṛṅṛ g ā ra (love) (All rasa may be present.) Same as above Fictitious story, invented by the poet; realistic, deals with the affairs of the social classes coming from a mixed milieu, M ṛ cchaka ṭ ik ā 3. The Samavakra Three acts/ twelve heroes Exalted Gods and asuras Dh ī roddh ā tta and Dh ī rod ā tta Vira and raudra ( Śṛṅṛ g ā ra can also be there) Ā rabhat ī and S ā ttvati Well-known story; triple structure/ action oriented; three A ṅ kas, three Kapatas (deception), three Vidravas (flights), three Śṛṅṛ g ā ras (dharma śṛṅṛ g ā ra or righteous love, Artha śṛṅṛ g ā ra or love with financial motivation, and k ā ma śṛṅṛ g ā ra or Amrit-Manthan