Indian classical drama
The term Indian classical drama refers to the tradition of dramatic literature and performance in ancient India.
The roots of drama in the Indian subcontinent can be traced back to the Rigveda (1200-1500 BCE), which contains a number of hymns in the form of dialogues, or even scenes, as well as hymns that make use of other literary forms such as animal fables[1] However, Indian drama begins its classical stage in the classical period with the composition of the Nātyaśāstra (lit.
Three famous romantic plays written by Kālidāsa are the Mālavikāgnimitram (Mālavikā and Agnimitra), Vikramōrvaśīyam (Pertaining to Vikrama and Urvashi), and Abhijñānaśākuntalam (The Recognition of Shakuntala).
The powerful Indian emperor Harsha (606–648) is credited with having written three plays: the comedy Ratnavali, Priyadarsika, and the Buddhist drama Nagananda.
The roots of Indian drama go back to the Rigveda, which contains a number of dialogues, acts and scenes, as well as literary devices such as animal fables and riddles.
In many Vedic rituals, musical instruments like the flute and lyre are invariably used[1][2] Shatapatha Brahmana (~800–700 BCE) has verses in chapter 13.2 written in the form of a play between two actors.
Stratiagraphical analysis dates the find to the 3rd or 4th century BCE, thus making it likely that theatre in India was fairly developed during this time.
It addresses acting, dance, music, dramatic construction, architecture, costuming, make-up, props, the organisation of companies, the audience, competitions, and offers a mythological account of the origin of theatre.
Sanskrit theatre was performed on sacred ground by priests who had been trained in the necessary skills (dance, music, and recitation) in an hereditary process.
Under the patronage of royal courts, performers belonged to professional companies that were directed by a stage manager (sutradhara), who may also have acted.
Of all the elements of theatre, the Treatise gives most attention to acting (abhinaya), which consists of two styles: realistic (lokadharmi) and conventional (natyadharmi), though the major focus is on the latter.
Rife with romance, sex, royal intrigue and comedy, the juicy plot of the play has numerous twists and turns.
Bhāsa's most famous plays are Svapnavasavadattam (Swapnavāsadatta) ("Vasavadatta's dream"), Pancharātra, and Pratijna Yaugandharayaanam ("The vows of Yaugandharayana").
More than a millennium later, it would so powerfully impress the famous German writer Goethe that he would write: Wouldst thou the young year's blossoms and the fruits of its decline And all by which the soul is charmed, enraptured, feasted, fed, Wouldst thou the earth and heaven itself in one sole name combine?
The full śloka reads: "upamā Kālidāsasya, Bhāraver artha gauravam | Daṇḍinah padalālityam, Māghe shanti trayoguṇah ||" Amongst Sanskrit plays, the historical play Mudrarakshasa by Vishakhadatta is unique because it contains political intrigue and is full of life, action and sustained interest.
[24] Other great plays include Ratnavali, Nagananda and Priyadarsika by Sri Harsha (7th century CE), Mahendra Vikram Varman Mattavilasa Prahasana, Shakti Bhadra's Āścaryacūḍāmaṇi, Kulasekhara's Subhadra Dhananjaya and Tapatisamvarana, Neelakanta's Kalyana Saugandhika and Sri Krishna Charita.
[25] Other major Sanskrit playwrights include Visakhadatta, Bhaṭṭa Nārāyaṇa, Murari, Rajasekhara, Kshemisvara, Damodaramishra, and Krishnamishra.
Guru Nātyāchārya Vidūshakaratnam Padma Shri Māni Mādhava Chākyār choreographed and directed plays like Kalidasa's Abhijñānaśākuntala, Vikramorvaśīya and Mālavikāgnimitra; Bhasa's Swapnavāsadatta and Pancharātra for the first time in the history of Koodiyattam.
Some worth-mentioning plays are Arjuna-Pratijnaa, Shrita-kamalam, Pada-pallavam, Divya-Jayadevam, Pingalaa, Mrtyuh, Sthitaprajnah, Tantra-mahasaktih, Purva-sakuntalam, Uttara-sakuntalam and Raavanah.
