Sanskrit Drama Presentation

The origin of Sanskrit drama can be traced to the early days of the Aryan
civilization and since then, through the course of a millennium, this form of
literature has given rise to many authors who have produced monumental works
that still survive and have significantly influenced the arts and the society at large.

ORIGIN OF SANSKRIT DRAMA

1) Vedic Religion
First Chapter for Nt yastra explains the origin of Nt ya
Created by Brahma for the benefit of all castes
Recitation for Rg veda, Songs from Smaveda, Abhinayas
(histrionics/expressions) from Yajurveda and Rasas from Atharvaveda
Vedic Monologues and Dialogues e.g. Prravas and Urvai (Rg X. 95)
2) Puranas, Epics, Panini, Patanjali
Dialogues found in Puranas
Styles of Recitations
Pantomime mentioned in Mahbhrata e.g. in Shanti Parvana : nat a nart akah
Mentioning of Nat as and Nart akas in Ramayana
Panini mentioned Nat asutras
Patanjalis Mahbhsya cites phrases from a drama (to demonstrate the use
of imperfect tense)

 Ll of ri Kr s n a
3) Secular Origin
Puppet show
Tribal dances (Kathakali)
Shadow-Play (Mahbhrata)
4) Greek Influence
Aryan invasions
Alexander the Greats invasion
5) Origin from Dance
Dances of the Royal Courts and Temples
Referenced in Vedas and Brhmanas (e.g. Usha is described as revealing her
beauty like a dancer removing her garment in the form of darkness Rg. I.
92.4)

CHARACTERISTICS OF SANSKRIT DRAMA

Utilization of stories or plots from pre-existed stories/itihasas
Utilization of stock characters: hero, villain, clown
Love and nature are the main themes
Always have happy endings
Consist of both verses and prose
Always precede by prologues
Death cannot be depicted on stage
Eating, biting, scratching, kissing and sleeping cannot be depicted on stage
High ranking individuals speak in Sanskrit, common people speak in Prakrit
Consist of musical accompaniments
Supportive of Purus arth as d( harma, artha, kma, moka)

NAYAASRA

A treatise on the performing arts encompassing drama, dance and music

Composed by Sage Bhrata, based on the older Gandhrva Veda
Composed in verses, consisting of 6,000 sutras in 36 chapters with a total of
36,000 lokas
Possibly compiled around 5th century AD
Lit of Chapter
1. Origin of Drama
describes its mythological and vedic origins

2. Description of Theatre
- How three types of theatres are constructed
3. Pja to the Gods
- A detailed description of which deity is to be worshiped at which
particular areas
4. Description of Tan d ava
- Origin and movements of this type of dance
5. Preliminaries of the Play
- Rituals connected to the preparation of the play
6. Sentiments (Rasas)
- A detailed explanation of how rasas are created
7. Emotional and other states
- A detailed description and explanation of how modes are formed
8. Gestures of Head and Face
- A description on the types and executions of gestures of head and face
9. Gestures of Hands
- A description on the types and executions of hand gestures
10.Gestures of Torso and Limbs
- A description on the types and executions of torso and limbs
11.Choreography
- Different types and particulars of choreographies
12.Gaits and Postures
- An explanation of the significance and gaits and postures
13.Nature of Performances
- An outline of the two natures of dramatic performances
14.Rules of prosody
- How a prose is recited

15.Metrical patterns
- Types and styles of meters (chandas)
16.Diction of a Play
- How to recite a speech for dramatic performances
17.Rules on the use of languages
- How to recite Prakrit in dramas
18.Modes of addresses and intonation
- Pitches to use for recitation
19.Ten kinds of plays
- A description of 10 types of plays
20.Structure of Drama
- An analysis of plots in dramas
21.Styles of Interpretation
- Myths regarding the origin of the styles of interpretation
22.Costumes and make-up
- Different types of ornaments, clothing and stage make-up
23.Harmonious performance
- How to achieve harmony in performances by combining speech and
bodily movements
24.Types of Actors
- Functions of different types of actors and their characters
25.Specific styles of acting
- Acting styles and interpretation of characters
26.Characterization and Casting
- An explanation of three types of dramatic performances on the basis
of casting
27.Indication of success in dramatic performances

- How to measure the success of performances

28.Instrumental music
- Types of music used to accompany dramatic performances
29.Musical Elements
- Types of instruments used to accompany dramatic performances and
scales (ragas) used for different rasas
30.Reed instruments
- Wind instruments
31.Beat and Rhythm
- Percussive instruments used to create beats and rhythm
32.Songs in a Play
- Types of singing used for dramatic performances
33.Musical Qualities
- A short description of the qualities of players and singers
34.Drums and Percussion
- Types of drums and its functions on the stage
35.Distributions of roles
- Direction of casting regarding ages and suitability
36.Story of the Actors curse
- A tale of the origin of performances told by Bharata
37.Descent of Drama on the Earth
- A mythological description on the origin of Sanskrit drama and this
treatise

RASA

Rasa (sentiment) is an emotional state generated by performers (bhva/mode)

which can be felt by the audience (sentiment/rasa). Some describe it as a two-fold
experience in which both the generators (performers) and the receptors (audience)
simultaneously and mutually experience the sentiment.
The Eight Rasas
1. rngra
- Erotic, Attractiveness, Love

Presiding Deity: Vishnu, Color: Green

2.

Hyam Comic, Laughter

Presiding Deity: Ganesha, Color: White

3.

Raudram: Anger, Fury

Presiding Deity: Rudra, Color: Red

4.

Krun yam: Compassion, Tragedy

Presiding Deity: Yama Color: Gray

5.

Bbhatam: Disgust, Aversion

Presiding Deity: Shiva Color: Blue

6.

Bhaynakam: Horror, Terror

Presiding Deity: Kala, Color: Black

7.

Vram: Heroic
Presiding Deity: Indra, Color: Light Brown

8.

Abhutam: Wonder
Presiding Deity: Brahma, Color: Yellow

(Alankara Shastra added the 9th rasa and called it: antam (Peace) as well as
Vtalya (Parental Love) and Bhakti (Spiritual Devotion).
Additionally, there are 8 constant modes, 33 inconstant modes and 8 spirited
modes.

SANSKRIT DRAMATISTS
There were many Sanskrit dramatists whose work still survive today and here are
some of the notable authors:
1. Bhsa
2. Klidsa
3. Hars a
4. Mahendravikramavarman
5. Bhavabhti
6. Vishkadatta
7. Bhat t a Nryana
8. Murri
9. Rjshekhara

BHASA
Shall we neglect the work of uch illutriou author a Bha, Saumilla and
Kaviputra? Can the audience feel any repect for the work of a modern poet, a
Klida? Introduction to Mlvikgnimitram
Composed 13 plays; 3 plays based on Ramayana, 10 plays based on
Mahbhrata
Works lost for centuries; discovered in 1912
Mentioned of Svapnavsavadatta in Kvyamimmsa by Rjshekhara in the
9th century
Urubhanga and Karnabhara are the only tragic-ending dramas

KLIDSA
Court Poet of King Vikramaditya (Chadragupta II)
Lived in the 5th Century AD
Resident of the City of Ujjain
Composer of 2 Mahakavyas, 2 Kandakavyas and 3
Mlavikgnimitra, Abhijnanakuntala, and Vikramorvayam

Dramas:

Abhijnanakuntala
The most famous among the three of Kalidasas plays
Taken from Mahbhrata
Consists of both verses and prose; 194 verses all together, 9 in Prakrit
Four types of meters (chandas) are used; ry (38), loka (36),
Vasantatilaka (30) and rdlavikrd ita (22)

 Royal heroes, Brahmins and officials speak in Sanskrit; women, children

and udras speak a variety of Prakrit. For example, policemen and
fishermen speak Mghadh
Why Kalidaa i famou?
Successful use of expressive words and explicit verses to create powerful
rasas
Created beautiful symbolisms and analogies of nature as if they are realistic
through the use of words and phrases
Intellectual usage of metaphors through nature and mythological sources to
express hidden philosophical messages (for example, in Abhijnnaakuntala
; deer, bee, lotus etc.)

KLIDSAS
INFLUENCE
ON
GOETHE
PERFORMING ARTS IN THE MODERN WORLD

AND

Willt du die Blhte de frhen, die Frchte de pteren Jahre, Willt du, wa
reizt und entzckt, willt du wa ttigt und nhrt, Willt du den Himmel, die Erde,
mit Einem Namen begreifen; Nennich, Sakuntala, Dich, und o it Alle geagt
Goethe 1792
Would you; the freh bloom and fruit of the later year Would you; by
which the world i thrilled, memerized, enraptured, fulfilled and feated... Would
you; the heaven and the earth, together in one name proclaim; I name you
Sakuntala, and that i all, which ha to be uttered translated from German by
Saran
Goethe first had access to a copy of akuntala translated into English by
William Jones (1789)
Goethe wrote Faut with a prologue modeled after that in akuntala
Franz Schubert composed an opera in two acts Sakontala (1820)

 Ernest Reyer composed a ballet Sacountala (1839)

Karoly Goldmark composed Sakuntala Overture Op. 13 (1865)
Franco Alfano composed an opera La leggenda di Sakuntala (1921)
King Rama VI translated Sakuntala from English into Thai from William
Jones edition
Ktiyat
tam

Estimated to be 2,000 year-old

A form of dance/drama originated in Kerala
Performances are done in Sanskrit and early form of Prakrit
Used to be performed in Hindu temples and for Hindus only
Could last 12 to 150 hours; from few days to few weeks
Consists of three parts: purappadu, nirvahanam, koodiyattam.
Distinctive make-up, costumes and accessories
Involves a lot of gesticulations

SANSKRIT DRAMA
PRESENTATION

Survey of Sanskrit Literature Class

Masters of Arts in Sanskrit Studies
Sanskrit Studies Centre, Archeology Department,
Silpakorn University
11 DECEMBER 2014

Presented by:
Saran Suebsantiwongse
Lin heng