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

Volume XXI Issue XII Version I 50 ( ) Global Journal of Human Social Science - Year 2021 A © 2021 Global Journals The Indian Theory of Drama love with sensual desires). 4. The Ḍ ima Four acts/ sixteen heroes Gods and asuras Dh ī roddh ā tta and Dh ī rod ā tta six rasa-s (i.e. except śṛṅṛ g ā ra and H ā sya) S ā ttvati and Ā rabhat ī Well-known action oriented story of fight and agitation, more ferocious than the Samavakra Tripura Dahana 5. The Ī h ā m ṛ ga One act Man/damsel s Any rasa except h ā sya (mirth, laughter) and śṛṅṛ g ā ra S ā ttvati and Ā rabhat ī Mixed story of gods and men; action oriented, agitation, flight, encounter, kidnapping and ravaging of women, fights on account of celestial damsels (the hero relentlessly pursues a woman who is as elusive as a swiftly flying gazelle (m ṛ ga); and, it is very difficult to get her.) Rukmaaniharan by Vatsaraj 6. The Vyayoga One act, a sort of an extension of the Ḍ ima ḥ Dh ī roddh ā tta and Dh ī rod ā tta : A well-known divine being or a royal sage with limited numbers of women characters Any rasa except h ā sya (mirth, laughter) and śṛṅṛ g ā ra S ā ttvati and Ā rabhat ī Well-known story, coincident, Incidents of fight, wrestling, altercation, pushing, pulling, etc. The Victory of Para ś urama ; Madhyam Vyayoga by Bhasa (Story of Ghatotkach) 7. The Anka: (Also called Uts ṛṣṛ ik āṅ ka ) One act Noble hero/ Dh ī ralalita , Ordinary man, but no divine character/ women characters Kar ū n ā (compassio n). Bharati well known or not known story; characters turning back from fierce fight, tragic, wailing of women Urubhanga by Bhasa 8. The Prahasan (Farce) Two types, pure ( Ś uddha ) and mixed ( Sa ṅ k ī r ṇ ) A burlesque, one or two- Act-skit Ś uddha Prahasan/ low character:: Sa ṅ k ī r ṇ Prahasan/ courtesans, menial servants, eunuchs, rogues and gallants H ā sya Bharati In Ś uddha Prahasan satire on gurus, ascetics, Buddhist monks, learned Brahmins, etc. by ridiculing (at ī h ā sa) them. In sa ṅ k ī r ṇ Prahasan distorted characters appear in immodest dress and make openly (obscene) gestures. Bhagavadajjukam of Bodhayana (6th - 7th century AD) and Mattavilasa Prahasana by Pallava King Mahendravarman I (571– 630 CE) 9. The Bhana One act monologue narrated by a single actor A rogue, a parasite or Vita, not a hero but fills the stage śṛṅṛ g ā ra or vira Bharati and Kai ś iki A satirical performance put on by a single actor, talking to himself, making Ubhaya-abhisarika of Vararuchi; Padma-rabhrthaka of Sudraka; Dhurta-Vita-