Theater Architecture in India

2014
Journey of Theater
Architecture in India
From Vedic to 21st Century
Study on the Ancient theater architecture as well as contemporary
Sushant Bharti
Vastukala Academy of Architecture
10/6/2014
Journey of Theater Architecture in India
CERTIFICATE
This is to certify that the Dissertation entitled Journey Of Theater

Architecture in India, submitted by Sushant Bharti, batch 20112016,as a part of five year undergraduate programme in Architecture
at VASTU KALA ACADEMY, is a record of bonafide work carried out
by him under by my guidance :
MRS. SHEILY SRIVASTAVA

(GUIDE)
ACKNOWLEDGEMENT
I am grateful to my dissertation guide, Mrs Sheily Srivastava for her

able guidance and providing valuable tips and directions from time to
time. I am thankful to her for giving patient hearing to me as and
when I approached her with any problem. I would also like to thank
Mr Veejay Sai, Art Critic Mr. Ashok Sagar Bhagat,Professor,Theater
Architecture, NSD and Mr. Manohar Varadpande for helping me to
gather valuable information related to my dissertation topics.
Introduction
Ancient Indian Theater
Natyotpatti
Rasa in Theater
Origin Of Theater In India
Dramatic Theory Of Veda
Theater In Ancient Indian Literature
Folk Theater in India
Ancient Indian Theater Architecture
Theater According To Bharat Muni(Natyashastra)

Design aspect of Ancient Indian Theater
Historical evidences of Theater in India
Modern Indian Theater Architecture
Present Day Theater in India

Types of Theater in India
Design Aspect of present day Indian theater
Comparative Analysis of Ancient and Modern Theater
Case Studies
Prithvi Theater
Tata Theater
National School of Drama
Conclusion
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AIM: To explore the journey of Theater Architecture in India
OBJECTIVE:
The basic classification of my study would be :
History / background study of theater

What are the principles that affects the theater house
To study the different types of theater space
To study the social impact on theater
To study what are the various benefits of green facades.
To study the present trends in green walls
Various methods / design aspects which can be followed for constructing green
facades , how is a green facade wall erected
What is the cost of a green facade wall?
Future /developments
Do ancient theatre needs advancement
Scope of ancient theatre in various conditions & its future.
METHODOLOGY:
Initially I will show basic information about theatre architecture in India.

Afterwards I will try to find basic concept of Indian theatre, and show all theirs
characteristics.
Next step is to describe present day problems, and try to find if ancient theatre house
can be solution to the modern one
Finally I will show conclusions and my opinion about dissertation.
By this structure is much easier to understand my work and also to take a stand on
report problem.
SCOPE OF STUDY :
The study is to examine the ancient Indian theater and the construction techniques
which are there in Natyashashtra by Bharat Muni and to compare it with the present day
theater houses.
My study does not include Theater architecture outside India
LIMITATIONS:
The study is limited to theater performance. No dance and music performances are
incorporated in this study.
Introduction
Theatre is one of the integral component of the Indian culture. The rich culture of India has
further gained that articulate dimension amidst the artistry of Indian theater and drama.
Theater in India is as old as the culture of India and quite ideally therefore the deep-rooted
relation between Indian tradition and Indian drama has given birth to a number of eminent
personalities in Indian theater. India therefore boasts its glorious association with all the
well known theater personalities who has further reshaped and redefined the age old
ethnicity of India in the most coherent way.
The origin of the Indian theatre or rather folk theatre and dramatics can be traced to
religious ritualism of the Vedic Aryans. This folk theatre of the misty past was mixed with
dance, ritualism, plus a depiction of events from daily life. It was the last element which
made it the origin of the classical theatre of later times. The history of ancient Indian theatre
dates back to the Vedic age. It is believed that the theatrical culture in India originated in the
times of Rig Veda. Themes regarding wild animals and hunters played the most pivotal role
in the ancient Indian theatres. However, the ingredients for theatre were there already in
India steeped in folklores, myths, tradition and legends written in umpteen languages as
India is always the land of stories. However, the main idea and storyline of the ancient Indian
theatres used to be the depiction of events of everyday life, dance and food. Ritualism made
a great impact in the presentation of ancient Indian theatre and indeed paved the way of a
rather classical presentation of Indian theatre.
Dance and Music were highly-evolved Court arts in Ancient India. They were not the folk-art
to be shown on the streets or near the village shrines. The palaces contained separate halls
for Natya. The Malavika Agnimitra of Kalidasa furnishes us the information that the palace of
the King had a chitrasala (painting hall) and a prekshagara (a hall for witnessing Natya). As it
is clearly known that Dramaturgy existed in ancient India we cannot deny the fact that there
were no permanent structures to house such art performances. It also Denys the fact that
the Natyamandap in front of the Garbhgriha were the only structures to house the drama in
ancinet times. It is important to find out the various evidences from the ancient Sanskrit text
to promote our ancient planning and designing skills of stagecraft.
By having a comparative study of both Ancient and Present Day Theater architecture people
may get help in designing Playhouse and Theater house for the performance arts. Also an
analytical and appropriate studies can be made about the art of construction, material, land,
craftsmen, calculations regarding Theater Design.
Ancient Indian Theater

Architecture
8
Natyotpatti
Natya is a term which could be used in place of rupaka or rupa, meaning, Drama i.e. a play
intended for presentation. Again, Natya is being used for the term Nrtya which means
Dance. The expression Bharatanatyam is an example by itself. Many of the earlier & later
scholars & critics have written variously on the concept of Natya,Nrtya,Nrtta. It is interesting
to note that there is no such term as Nrtya in the Natyashastra. However, the term Nrtya
appearing in the original text, at places it is followed by a parenthetical classification Nrtta.
Nrtta is much more ancient a genre than natya. It is said that latter was created by Brahma
while nrtta was brought into being by Parameswara(Shiva).It cannot be asserted that Natya
took off Nrtta, for both the genres took roots & developed independent of each other.
Sharadatanya in his Bhava Prakash, explains the origin of natya vidya according to the
Rigveda: At the end of Kalpa, Maheshwara (shiva),having burnt all the worlds, danced in abandon.
He then created Vishnu & Brahma. The inexplicable creative energy of Vaishnavi took the
form of ever auspicious Ambika & stood on the left side of Shiva. Then in accordance with
the plan of Devendra,Brahma,having created all the worlds, wished to directly see the life of
Shiva. While Brahma was contemplating on the prospect of seeing the lords life,
Nandikeshwara arrived & practically taught him the Natyaveda (the knowledge of Natya)
and said, Teach unto other Bharatas(actors) one of the rupakas that thou has learnt from
the natyaveda thyself, together with the rules thereof. When Bharata's well-versed in
Abhinaya,enact the rupaka,all events & actions in retrospection shall become visible to
thee. So saying Nandikeshwara disappeared. Being pleased with the fulfillment of his desire
Brahma together with other gods,wrote Tripuradaha. Rupaka taught the same to the actors
asking them to perform it well. So did they perform.
Rasa in Theater

The verse speaks of the arousal in the spectator of a pure state of joy(rasa) which is
aesthetically aroused by the portrayal of universalized and super sensual inner states of
being through the medium of the actor's art of communication through his body-speech
mind-physical get up(abhinaya)- delineated according to the two practices of performances

(dharmi), in four styles(vrtti) in four regional variations (pravartti) with accompanying vocal
and instrumental music(svara-gana-atodaya) in the playhouse (ranga) for the success of
production(siddhi). The description provides a comprehensive idea of a set of components
which formed the whole framework of an ancient Sanskrit play.
Each of them can be properly understood in the context of the others alone. This synergic
interrelationship is at the core of the principles and practices of the ancient play. In other
words, the play, the character, the performance, its practices, the styles of production, thei
regional modes of presentation, the music, the playhouse, the spectators and above all the
rasa pervading all these elements are mutually interdependent and interwoven in the fabric
of a theater so intrinsically that a replacement of even one of them may disturb the harmony
of the style of theater.
Origin Of Theater In India

Hindu theatre is an ancient form of drama taking place in India. It dates back to 1500 B.C.,
when religious hymns were put as dialogue. In Hindu mythology, it is said that Brahma
invented theatre and commanded the first playhouse built. A literary language that is used
and understood only by aristocrats is called Sanskrit. Gardens or courthouses of palaces or
specially built palace playhouses were where most of these dramas were performed in the
early years of Hindu Theatre. Also, it is performed only for good entertainment and always
has a happy ending. Hindu theatre is very intimate, delicate, and restrained.
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As we know Hindu theatre got its start before 1500 BC, but what might be surprising is that,
according to some historians, is that it might only date back as far as 1000 BC. Hindu drama
was written in Sanskrit which was the common language for India at the time. Hindu theatre
was usually performed at religious festivals. But the oldest Hindu dramas were not
composed in Sanskrit but rather Prakrit. Bharata in Hindu theatre is not a historical person
but more of a symbolic thing. Hindu drama was the only form of drama to not be influenced
by foreign cultures. But it originated from ancient customs of reciting sorts of poetry. This
was only at social and religious gatherings. Musical and dramatic styles added to the
increasing success of the Hindu performances.
The origin of the Hindu theatre or rather folk theatre can be traced to religious ritualism of
the Vedic Aryans. This folk theatre of the past was mixed with dance, ritualism, plus a
depiction of events from daily life. Aryan tribes in which some members of the tribe acted as
if they were wild animals and some others were the hunters. Those who acted as animals
like goats, buffaloes, reindeer, monkeys, etc. were chased by those playing the role of
hunters and a mock hunt was enacted. In such a simple manner did the theatre originate in
India nearly 4000 years back in the tribal Aryans of Rig Vedic times. Bharatamui, the author
of Natyashastra an ancient Indian text on dance and drama, is said to have lived around the
4th century but even he is not aware of the actual origin of the theatre in India. He has
stated in a dramatic manner that it was the lord of creation Brahma who also created the
original Natyashastra . According to Bharatamuni, since the lord Brahma created the entire
universe we need not question his ability in creating dramas.
Dramatic Theory Of Veda

The first thing perhaps which strikes a student of Sanskrit literature is the fundamental
religious basis of the entire edifice. The characteristic Hindu attitude to life may be judge
from certain deeply rooted national beliefs. The doctrine of karmas and of rebirth go hand in
hand. Deeds of the past life are held more or less responsible for birth in a high or low caste
and family, and also for the misery and happiness falling to the human lot. However since
god is supposed to hold the scales of justice even, it is open to a human soul, by means of
meritorious deeds, to rise to the summit of evolution and experience, the consummation of
pure joy i.e.' Moksha.
It is not difficult to trace the influence of this great doctrine on the Vedic Drama. Human
suffering was thus easily accounted for. Sakuntala, by a deed of omission, offended a fiery
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sage, who pronounced the curse of conjugal separation on the erring damsel. Similarly, Sita
holds the sins of previous birth for her miseries.
This philosophical attitude was supported by a general moral purpose to encourage virtue
and condemn vice or sin. Partly to achieve this end and partly to preserve the usual romantic
atmosphere, there were presented on the stage ideal heroic characters strongly contrasted
with vicious antagonist. In order to maintain an idealistic situation not only was a tragic end
forbidden, but other important and far reaching restrictions were also imposed. Propriety
and decorum were emphasized and the dramatist had to observe decencies on the stage.
Theater in Ancient Indian Literature

Dance and Music were highly-evolved Court arts in Ancient India. They were not the folk-art
to be shown on the streets or near the village shrines. The palaces contained separate halls
for Natya. The Malavika Agnimitra of Kalidasa furnishes us the information that the palace of
the King had a chitrasala (painting hall) and a prekshagara (a hall for witnessing Natya). It is in
this prekshagara that Malavika's dance is presented. There can be no mistaking this place to
be a mere hall or some sort of architectural structure. It is a perfect natyasala, there being
mention of the green-room and the curtain. In act V of the Sakuntala it is said that
Hamsapadika, the King's quondam sweetheart is singing in the sangitasala.
The Vishnudharmottara mentions only two types of theatres. It says "The Natya should be
presented only in a theatre, and a theatre might be of two kinds, rectangular or square. The
square should be 16 X 16 yds. The theatre should not be too small or too big, for there would
be congestion in a small one and the show would become indistinct in a big one." The
measurement given here for a rectangular theatre is not clear, the text being corrupt. This
work does not mention the triangular theatre.
Narada's Sangitamakaranda mentions only the square theatre. It gives a new measurement,
that this square theatre should be 48 X 48 yds. Thus according to Bharata this will perhaps
be a jyestha type. Narada then adds that the natyasala must be richly painted with the
eighty-four bandhas mentioned in the Kamasastra, or more likely the dance bandhas of
the Natyasastra, inlaid with innumerable gems of diverse colours and decorated with
chowries, flags and festoons. He gives the house four gates. In the centre there should be a
raised platform, beautiful and perfumed, a twelve-yard square, in the middle of which the
king's seat should be arranged.
Chapter X of Saradatanaya's Bhavaprakasa says that the palace of a king should have three
kinds of theatres. This writer omits the rectangular type and has in its place
the vritta, circular theatre He opines that the king should have all the three types in his
palace, each for a particular kind of dance and audience. He assigns to the circular theatre
only the chitra variety of the misra dance i.e., the style in which bothmarga and desi are
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mixed. The audience in this theatre should be only males, consisting, besides the king, of
proprietors of other theatres para-mantapikas, and the chief citizens. In the square type the
audience consist of the king courtezans, ministers, merchants, commander of the army,
friends and the king's sons. Here all sorts of misra dance and music could be conducted. In
the triangular, the audience with the king include the sacrificial priests, the preceptors, the
king's harem and the chief queen. The dance conducted in this theatre should be of
the marga style only.
The Sivatattvaratnakara of Basavaraja says that King Venkatappa built a theatre at Ikkeri. It
describes the grandeur of that theatre, worked in ivory and sandal and inlaid with precious
stones, having, a garden around it, receiving enough light where it was wanted and with
special artificial lighting arrangements in the darker portions. The whole house was
beautified with paintings of various themes on the walls that looked like mirror.
The Sangitachudamani, an unpublished work on Music, seems to have dealt with the
theatre. We have two verses from it describing yavanika (curtain) quoted in another
available work on Poetics. The verses say that there should be a thick and beautiful curtain in
front. Behind it, there should be two very thin and beautiful curtains looking just like thin
mist. The first curtain is the front drop which is removed as soon as the show begins.
Behind the mist-like curtain, the danseuse performs the dance caned lasya.
Folk Theatre In India

Since India consists of varied ethnic groups, each developed their own kind of traditional
folk theatres, using the regional language for communication. These theaters are known by
different names in different Indian states, like Jatra in Bengal, Orissa and Bihar, Tamasha in
Maharashtra, Nautanki in Uttar Pradesh and so on. Here, the main protagonists are the
narrator and a comedian. Loud music, dance, elaborate make-up, masks and chorus singing
are the main traits of Indian folk theatre.
Kutiyattam
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Bhavai

Kutiyattam is the only surviving specimen of the ancient Sanskrit theatre, thought to have
originated around the beginning of the Common Era.
In addition, many forms of Indian folk theatre abound. Bhavai is a popular folk theatre form
of Gujarat, said to have arisen in the 14th century CE. Bhaona and Ankiya Nats have been
practicing in Assam since early 16th century which were created and initiated by
Mahapurusha Srimanta Sankardeva.
Bhaona
a
Jatra
Jatra has been popular in Bengal and its origin is traced to the Bhakti movement in the 16th
century. Another folk theatre form popular in Haryana, Uttar Pradesh and Malwa region
of Madhya Pradesh is Swang, which is dialogue-oriented rather than movement-oriented
and is considered to have arisen in its present form in the late 18th - early 19th centuries.
Yakshagana
Kathakali
Swang
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Yakshagana is a very popular theatre art in Karnataka and has existed under different names
at least since the 16th century.. Kathakali is a form of dance-drama, characteristic of Kerala,
that arose in the 17th century, developing from the temple-art plays
Krishnanattam and Ramanattam.
Theater According to Bharata Muni

According to Rig Vedic Hymns Brahma ordered Visvakarma, the celestial architect, to
construct a Natya Griha or a theatre so that admission could be restricted. Being himself one
of the gods, Visvakarma immediately brought into being a theatre, acoustically perfect.
In order to prevent any disturbance various gods were entrusted with respective duties of
guarding the actors and actresses, the production material and the theatre - the Moon was
in overall charge of the theatre, the lokpals to guard the sides, Mitra in charge of the green
rooms, Varuna the sky, Agni the stage, Meegha the instruments, Brahma the acting area,
Indra the hero, Sarasvati the heroine, Oomkaara the clown, Hara the rest of the artistes etc.
"those gods that are in respective charge of the various sections of the production and the
theatre shall be called Ranga Deevanta-s or the presiding deities of the theatre and hold
supereme charge of those sections" were the powers made over by Brahma. He also stated
that the Gods that guard the production and the theatre should be worshipped before a
production started.
A detailed description of different types of theatre (Natyamandapa) is given in the second
chapter of the Natyasastra by Bharata Muni. It contains one hundred and five stanzas. It
gives detailed dimensions and layouts of different types of theatres as well as information
on the construction of walls, columns, roof, their decorations etc. the description of
theatres is so minute and the reasons, given by Bharata, for fixing their dimensions are
based on such scientific facts that there could not be any doubt that such thetres used to be
constructed at and before the time of Bharata, and that he must have been well-versed in
the various facets of the consruction of the theatre. The name of the second chapter of the
Natyasastra is 'Mandapa Vidhanam'. Detailed description of three types of theatres are
given. This second chapter is an important evidence regarding the progress in the
consruction of big public buildings as early as fourth or fifth century B.C.
The theatre according to the Natyasastra of Bharata, would be as briefly stated as follows :-
15
Theatres are of three types depending on their shape. They are Rectangular(Vrikrshta),
Square(Chatursara) and Triangular(Tryasara). Each type is subdivided into three
according to their dimensions, as large,medium and small. The large theatre is 108 hastas
long, middle is 64 Hastas and the small theatre is 32 hastas long. There are thus Nine
types of theatres

Dimensions of theatre are given in Hastas (= 24 angulas) as well as in dandas (= 96

angulas). But theatres are constructed in the measure of Hasta. Thus the theatre is
divided in two main parts of equal length. The eastern division is meant for the audiencehall, the theatre being oriented in the east-west direction. The western part is again
divided in two equal parts. The eastern part of it is meant for the Rangasirsa and the
western part for the green-room.

The Rangapitha is the stage and the Rangasirsa is its surface. Separate area is not
allotted to the Rangasirsa other than meant for the rangapitha. The Natyamandapa
should be provided with a plinth or Adhisthana. The Rangasirsa should be at the higher
level than the plinth.
Mattavarani is a verandah or a wing located at both the sides of the Rangapitha. It also
referred to a wooden railing 1 hastas in height. It is located on the top of the
Rangapitha and along its edge that is towards the audience - hall. It is provided with four
columns. It serves to protect actors and actress from the attack of intoxicated persons
from the audience - hall. The moulding of the front side of the Rangapitha should be
similar to those of vedika, as described in the treatises of Silpasastra.It is decorated with
elephant relief carved on it.
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The Rangasirsa of the rectangular theatre should be ascending from its eastern edge to
the western edge. It should neither look like the back of a tortoise i.e. high in between
and lower at the ends nor like the fish i.e. long and bulged from all sides The Rangasirsa
of the theatre should be level and as shiny as a mirror.

Saddharuka a wooden frame of six wooden battens placed below the the Rangasirsa in
order to create hollow space between Rangapitha and Rangsirsa.

The step - like seating arrangement being form a distance of eight Hastas from the
eastern edge of the Rangapitha. The seating arrangement, in the square-shaped theatre
is 32 Hastas long and eight Hastas broad. The easternmost step is at the height of eight
hastas from the top of the plinth.
The height of the theatre should be equal to that of the two storeyed mandapa. A
second floor is not provided either above the stage or the audience - hall.
Some Columns are embedded in walls. Walls are not load-bearing. The theatre is a
column and beam structure.
Four door should be provided to the rectangular theatre and three doors, each, to the
square-shaped and triangular theatre. A door is provided for the entry of actors from
outside to the green-room in all the theatre. Another door is provided in the eastern wall
of the theatre for the people to enter the audience-hall. In case of the rectangular
theatre, there are two doors in the partition wall separating the stage from the green-
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room. In case of the square and the triangular theatres, there should be only one door
for the entry from the green-room to the stage.

The height of the theatre, like that of a Chaitya cave, should be equal to a two storied
mandapa. It should have a barrel vault type roof like that a Chaitya cave. The
arrangement of columns is similar to that in caitya cave. Those who wants to have an
idea of the type of theatres in ancient Indian may derive much benefit by referring to the
very useful diagrams of Bharata's theatres which are given here
Detailed Section of an ancient Theater Stage
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Glossary of Ancient Stage

Natyamandapa & Preksagraha -Theatre.
Ranga-Stage
Rangapitha-The base of the stage,
Rangasirsa-The surface of the stage
Mattavarani-A line(an artistic design in relief) of intoxicated elephants,
Viddhasya-Faces so turned as to see the stage-(facing the stage)
Hastadanda Samasraya- With the help of a measuring rod(danda) of one cubit(hasta)
Saddaruka- A six-piece wooden structure
Dvibhumi- Two floors
Anissarana Dharma- The principle of Reflection(here applied to sound or acoustics)
The theatres mentioned in the Natyashastra are of three kinds :
Vikrstha(Oblong)
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Caturasra(Square)
Tryasra(Triangular).
Again, each of them are in three sizes:Jyestha(Large)

Madhyama(Middle)
Avara(Small)
Thus, there are nine varieties of theatre in all. The dimensions of these theatres are
measured in Hasta units..Therefore,there cannot be eight varieties of theatre as
Abhinavgupta mentions :1)
2)
3)
Vikrstha Madhyama( oblong theatre of middle size- 64x32 h)

Caturasra avara(square theatre of small size- 32x32 h)
Tryasra(triangular theatre of small size- 16 h)
One hasta = 18 inch or 45 cm
Design Aspects of Ancient Stage

In fact, only these 3 theatres have been mentioned in Natyashastra. The preference to
the middle size as the best in all three varieties valid from the present day scientific
points of view(i.e. of optics & acoustics of theatre)

The site where a play house has to constructed should be obstruction free. Strong,
stable, absence of skeleton and large granules is required. Rangapitha happens to be
the support below for the rangasirsa to rest on. The mattavarani a sculptural relief of
elephants was carved on the lower frieze of rangapitha, with its four pillars on the stage.
The height of elephants so carved should not be less than half a hasta (nearly 9). The
height of mattavarani & that of stage are to be corresponding & equal to each other.
Rangasirsa was constructed on the support of Saddaruka, a simple structure of a frame
made of six rafter pieces of wood. Adequate number of planks & bamboos were laid to
cover the tops of saddaruka.
20

Over that, again, black earth(clay) was spread evenly & then again polished smoothly like
the surface of a mirror. Rangasirsa is this surface of the stage floor. Since the saddaruka
frames remain hidden underneath the rangapitha, they were visible. The stage was
referred to as Dvibhumi meaning two floors because it is made up of a lower part & an
upper part, the rangapitha & rangasirsa. On account of construction of the saddaruka
frames, the space between the rangapitha & rangasirsa was empty. Characters like gods
& other supernatural beings could be made to appear on the stage-floor as emerging
from this empty space. The empty space also served as a resonating agent due to which
the sounds of the foot-steps(of the performers) could be resonated & rendered pleasing
to hear.
Nirvyuha kuhara, a projecting element from the wall served as a protecting shield to the
element below it constructed in recess created in the wall for inserting decorating motif.
These projecting elements were made inside as well as outside of a wall. These were
made in material like- bricks, wood or stone. A look at the walls of any old building
would give a clear idea of these projecting and recessed elements. Their purpose was to
create idea of chiaroscuro of light and shade by the sunlight falling on the wall and help
in breaking the monotony of a plain flat surface. And width adequate projection or depth
they could also protect the elements under or inside these.
But these elements seem to be used in Bharats's theaters inside the wall and are
mentioned in the slokas which are referring to the wood work. This wood work was
done with two objectives in mind- weight bearing and creating beauty and richness by
ornamentation.
The ornamental design not only imparted the interior of the theater richness and
beauty, but they also served as very vital function that of breaking up the plain wood
surfaces and give them a texture of unevenness and roughness which was a very
important and necessary function from the point of acoustics. These uneven and
textured surfaces helped in the absorption of sound and prevented it from being thrown
back which would results in echoes.
Besides these favorable requirements, other elements also were used to reinforce sound
and give it resonance and to avoid echoes and thereby give the speech and singing a
quality more pleasing to hear. The textured achieved in the ornamentation as well as the
pillars, beams, the ribs, the struts also must have helped a great deal in reinforcing the
quality of sound. They broke up the even surface which would tend to reflect the sound
and create echoes. These elements in the days of yore were used to for the same
purpose as the modern sound insulation boards are used to serve in the present day
theater acoustics.
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The shape of the theater-salaghuraka-itself must have been responsible to no mean
extent in creating the excellent acoustics quality. Bharata's had achieved a high quality
of acoustics and good sight lines which many a modern architect have failed to achieve in
the construction of theaters. The roof of the theatre should be raised high in a manner to
form a rib in the middle. The vertices of the triangles so formed at the ends of the rib &
rest of the roof should slope down. The roof should almost look like the roof of a cave of
stone. The hollow space so formed inside the roof shall make the sound(of speech &
song)uniformly audible to at all points.

The rectangular middle sized theater was to be neither larger nor smaller than this
because the sound of the spoken words would become indistinct due to distance or
become distorted due to the deflection causing echo.

No pillar, no peg on it, no window, no corner or any door should face a door. He says this
from the point of view of the unobstructed view of an entry or exit as well as of
acoustics distinction. It is common practice of the architects to place doors and windows
facing each other for the free cross wind to pass easily. In a theater, the subtlest sound is
vitally important and wind would disturb this and make it indistinct and hence this advice
to construct doors in a staggered order. The windows are to be small so that they let in
only gentle breeze or be almost breezeless. The breeze is further to be regulated by jalalattice. This as well as staggered placing of the doors and windows would help to keep
the sound of spoken words steady and also bring solemnness to dialogues.
Timing of a Drama Performance

Except for the time of prayers or meals, a play could be performed at any time of day and
night-early mornings, forenoon, afternoon and evening. As a rule, a performance was fixed
at a period of day or night or even a season which was most appropriately suitable to
communicate the mood and rasa impact of the play. for example, a play evoking pathetic
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rasa might be staged in mornings, while one with latent erotic rasa would be staged at
evening. Plays were generally produced on festive occasions, public or private. A vernal
festival was the occasion of the staging of Ratnavali. The Mudrarakshasha refers to the
celebration of autumn season. The time of production was generally afternoon and lasted
for nearly four or even five hours. It must be remembered that while in the Greek Theater,
often three tragedies and a comedy were produced on the same day, In India one single,
well sustained and systematically evolved drama was produced. The Indian climatic
conditions would give the necessary light throughout the day, for as a rule few plays were
produced during the rainy season.
The first thing perhaps which strikes a student of Sanskrit literature is the fundamental
religious basis of the entire edifice. The characteristic Hindu attitude to life may be judge
from certain deeply rooted national beliefs. The doctrine of karmas and of rebirth go hand in
hand. Deeds of the past life are held more or less responsible for birth in a high or low caste
and family, and also for the misery and happiness falling to the human lot. However since
god is supposed to hold the scales of justice even, it is open to a human soul, by means of
meritorious deeds, to rise to the summit of evolution and experience, the consummation of
pure joy i.e.' Moksha.
It is not difficult to trace the influence of this great doctrine on the Vedic Drama. Human
suffering was thus easily accounted for. Sakuntala, by a deed of omission, offended a fiery
sage, who pronounced the curse of conjugal separation on the erring damsel. Similarly, Sita
holds the sins of previous birth for her miseries.
This philosophical attitude was supported by a general moral purpose to encourage virtue
and condemn vice or sin. Partly to achieve this end and partly to preserve the usual romantic
atmosphere, there were presented on the stage ideal heroic characters strongly contrasted
with vicious antagonist. In order to maintain an idealistic situation not only was a tragic end
forbidden, but other important and far reaching restrictions were also imposed. Propriety
and decorum were emphasized and the dramatist had to observe decencies on the stage.
Historical Evidences of Theater in India

Theatre in the city of Krishnadevaraya
There are historical reference to Krishnadevaraya himself being a practicioner of music &
drama. It is said that one Bhandaru Lakshminarayana,an expert in music had been
teaching music to krishnadevaraya & ladies of his harem. Another person,Ranjakam
Shreerangaraju,Ranjakam Kuppai(his daughter),the dance master Nagayya & others
known to have been performing Dance-dramas in the august presence of
Krishnadevaraya. Paes,a foreign traveller,has described this theatre in certain detail.
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Open air theatre in the royal courtyard of Tanjavur

There is a square theatre in tanjavur belonging to Nayak kings. It is called Tiranda Veli
Arangam, meaning open air exterior stage(theatre).This theatre is attached to the
western wall of Saraswati Mahal library. Its earlier shape is not unknown.It has no roof.It
is bounded by four walls so as to enclose the courtyard. It is said that two thousand
spectators could easily be accommodated at one time. A raised platform appears to have
existed earlier on the north-east corner of the quadrangular enclosure. A speech
delivered from the platform would easily reach every one of the audience without the
aid of of any amplifying device. It was seen that the acoustics of the open-air enclosure
was good enough even for musical concerts.
Open-air construction excavated at Nagarjunakonda
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At the time of excavations at Nagarajunasagar for the project of constructing a dam,a
quadrangular structure,like an open-air theatre was unearthed.It is said that a raised
level on one side of the quadrangular arena & rows of seats on the remaining three of it
give it the shape of an open-air theatre.It is not yet known whether it represents an
open-air theatre or a stadium to accommodate games & spectators.
Some more historical examples existing till date:

Ankiya Nat
60 yards long and 20 yards wide,fully covered theater with a double roof on large wooden
pillars called Nama Ghar or Bhaona Ghar in which the stage area is marked with rangasthali.
Bhgavatamela
A temporary sqaure stage of 15,X15'X2.5' erected in a 20' wide street adjacent to a temple
main gate where the temple deity is placed. The performers face the deity. The stage is
covered with a cloth canopy.
Yakshagana
A temporary stage 16'X16' square area on the ground level with poles Ton each corner in a
temple courtyard
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Modern Indian Theater

Architecture
26
Modern Theater in India

The development of Modern Theatre in India was attributed to a change in the political set
up in India. The 200 years of the British rule brought the Indian theatre into direct contact
with the western theatre. The seeds of Modern Theatre were sown in the late 18th century,
with the consolidation of British power in Bengal, Maharashtra and Tamil Nadu. It was in the
thriving metropolises of Bombay, Calcutta and Madras that they first introduced their brand
of theatre, based on London models.
The initial purpose of the British, while introducing Modern Theatre in India was to provide
entertainment for the British soldiers and citizens trying to acclimatize themselves to a
foreign country. For the first time in India, the writing and practice of theatre was geared
fully towards realistic or naturalistic presentation. The themes also underwent a drastic
change. They were no more woven around big heroes and gods, but had become a picture
of common man. Initially most dramatic works were composed in three languages - Bengali,
Tamil and Marathi. But later plays began to be written in other languages like Kannada,
Gujarati, Hindi, Oriya, Urdu and English.
Modern theatre also reached the other states in the south by the beginning of the 19th
century. Ramashankar Roy, Basanta Kumar Mahapatra and others were the pioneers of the
Orissa Theatre. In Tamil Nadu, the early exponents of theatre were Prof. Sundaram Pillai,
Sankardas Swamigal, Sambananda Mudaliar and others. In the recent times, V.
Gopalakrishnan won the respect and admiration of the audience and his fellow artistes for
his talent. Along with Suchalatha Reddy and Thambi Kadambavanam, Gopi had started the
Madras Players troupe in 1952 under the auspices of the British Council and had acted in
quite a few English plays. He also founded the Gopi Theatres in 1971, which staged nearly 30
plays, which included Nittham Oru Yuddham.
In the middle of the 19th century the Western literature and the feelings of nationalism and
pride of the glorious past of the country equally influenced Indian Theatre. Indian theatre
and drama got a new footing, when Sangeet Natak Akademi was started in January 1953.
Later, the National School of Drama under the directorship of Ebrahim Alkazi did much for
the growth and promotion of modern Indian theatre.
In the 1960s, by suitable mixing of various styles and techniques from Sanskrit, medieval folk
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and western theatre, the modern Indian theatre was given a new, versatile and broader
approach at every level of creativity.
The year 1972 turned out to be a landmark for the Indian vernacular theatre when Vijay
Tendulkar's Marathi play 'Ghashiram Kotwal' made waves by its brilliant use of traditional
folk forms in modern contemporary theatre. This led to the birth of a new breed of directors
The beginning of 21st century describes a period of great change within
the theatrical culture of the 20th century. There was a widespread challenge to long
established rules surrounding theatrical representation; resulting in the development of
many new forms of theatre, including modernism, Expressionism, Impressionism. political
theatre and other forms of Experimental theatre, as well as the continuing development of
already established theatrical forms like naturalism and realism.
Throughout the century, the artistic reputation of theatre improved after being derided
throughout the 19th century. However, the growth of other media, especially film, has
resulted in a diminished role within culture at large. In light of this change, theatrical artists
have been forced to seek new ways to engage with society. The various answers offered in
response to this have prompted the transformations that make up its modern history.[1]
Developments in areas like Gender theory and postmodern philosophy identified and
created subjects for the theatre to explore. These sometimes explicitly meta-theatrical
performances were meant to confront the audience's perceptions and assumptions in order
to raise questions about their society. These challenging and influential plays characterized
much of the final two decades of the 20th-century.
Types Of Modern Theater

Drama-comedy or tragedy can be performed in many different types of theatres, as well as
outdoors, in warehouses, stairwells, and other unusual places. For simplicity, weve divided
this discussion into smaller drama theatres which include flexible and courtyard theatres and
larger drama theatres, which include thrust, open, and proscenium stages.
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Arena
A theatre in which the audience completely surrounds the stage or playing area. Actor
entrances to the playing area are provided through vomitories or gaps in the seating
arrangement.
Thrust
A theatre in which the stage is extended so that the audience surrounds it on three sides.
The thrust stage may be backed by an enclosed proscenium stage, providing a place for
background scenery, but audience views into the proscenium opening are usually limited.
Actor entrances are usually provided to the front of the thrust through dormitories or gaps
in the seating.
Black box theatre

A flexible theatre usually without character or embellishmenta void space that may
indeed be black, but isnt always. Usually, audience seating is on the main floor, with no
audience galleries, though a technical gallery may be provided.
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End stage Theater
A theatre in which the audience seating and stage occupy the same architectural space, with
the stage at one end and the audience seated in front facing the stage.
Studio theatre
A flexible theatre with one or more audience galleries on three or four sides of a rectangular
room. The main floor can usually be reconfigured into arena, thrust, endstage, and flat floor
configurations. The room usually has some architectural character.
Courtyard theatre
The term courtyard theatre embraces a range of theatre forms, all with the common
characteristic of at least one raised seating gallery surrounding a central area. Often this
central area is flexible, and can be configured into arena, thrust, end stage, and flat floor
configurations. Sometimes the central area has fixed seating that faces a proscenium
opening and stage.
Proscenium theatre
In a proscenium theatre, the stage is located at one end of the auditorium and is physically
separated from the audience space by a proscenium wall. This is sometimes called a twobox arrangementthe auditorium and stage occupy two separate boxes or rooms. The
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stage box (stage house) provides fly space and wings and permits a wide variety of scenic
and lighting effects. The auditorium box is the audience chamber, which may take many
formsfan-shaped, courtyard, lyric, etc.
Thrust and open stage

Some larger drama theatres take the form of a thrust stage, with the audience surrounding
three sides of the performance platform. The term open stage can be used interchangeably
with thrust, but implies a more frontal arrangement. These and similar forms can
accommodate a high seat count within an acceptable distance to the stage. Audience
balconies can increase the intimacy of the room.
Promenade theatre
A theatre without fixed seating in the main part of the auditorium this allows the standing
audience to intermingle with the performance and to follow the focal point of the action to
different parts of the room. Multiple-focus action and a moving audience are the primary
characteristics of the promenade theatre.
Dance theatres
Other than the tradition of ballet performance in opera houses, there is no strongly
identifiable theatre form for dance performance. Smaller, 100 to 300-seat spaces designed
for dance are usually end stage or proscenium. The design of the auditorium emphasizes
frontal sightlines and a clear view of the stage floor. Sometimes the seating is on telescopic
risers that can be retracted to allow the whole space to be used for rehearsal or instruction.
Multiform theatre
A multiform theatre can be reconfigured to change the actor-audience relationship and the
seat count. By moving large architectural elements, the one-room form of the concert hall
can be transformed into a two-room theatrean auditorium and stage with a proscenium.
Side wall seating towers can be positioned to narrow the room, or otherwise change its
proportion. Often the orchestra (stalls) floor can be leveled and the seats removed to create
a large, flexible flat floor area. (Many of the theatre forms described here can be designed
with this flat floor capability. It was a common feature of eighteenth and nineteenth century
opera houses.
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Design Aspect of Modern Theater

Site Selection
The choice of a site in modern day for an auditorium are governed by several factors which
may be mutually conflicting, but compromise has to be struck between the various of the
site are made in advance so that noisy locations are avoided. Where as possible
otherwise elaborate and expense construction is required to provide requisite sound
insulation. The quietest possible condition is provided so that intelligibility of speech does
not suffer and even soft passages of music are heard. It is -particularly necessary to keep the
level of extraneous noise low by proper orientation and site selection in case where no airconditioning is provided and doors and windows' are normally kept open during the
performance. When air-conditioning is provided special care is taken to attenuate the plant
noise and the grill noise. For this purpose plant is suitably isolated and ducts as well as the
plenum are designed that noise gets adequately reduced so as to be within the permissible
limits.
Size and Shape
The sizes are fixed in relation to the number of audience required to be seated. The floor
area of the theater including ,gangways ( excluding the stage) are calculated on the basis of
0-6 to 0'9 meter cube per person. The height of the theater is determined by such
considerations as ventilation, presence (or absence) of balcony and the type of
performance. The average height may vary from 6 m for small theaters to 75 m for large
theaters. Ceiling may be flat but preferable to provide a slight increase in the height near the
centre of theater. The volume per person required to be provided normally range between
3.5-5.5 meter per cube.
Floor plans of various shapes are used, but the one which is considered to give satisfactory
results without introducing complications in the acoustical treatment of the Theater is the
fan-shaped plan. The proscenium may bear any suitable ratio with the height of the theater
to suit stage requirements and considerations of viability. The side walls are arranged to
have an angle of not more than 100 degrees with the curtain line. Also, in the case of theatre
a person with normal vision should be able to discern facial expressions of the performers.
In order to satisfy these conditions, it is always recommended that the distance of the
farthest seat from the curtain line is not more than 23 meters.
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Stage
The size of the stage depends upon the type of performance the hall is to cater for. It is to
be large for theatres, comparatively small for cinema halls.
Rear Wall
The theater rear walls are either fiat or convex in shape. There is no concave shape, but
where it cannot be avoided, the acoustical design indicate the surface to be splayed or
convex corrugations given in order to avoid any tendency for the sound to focus into the
theater.
Side wall
where the side walls are non-parallel as in the case of a fan-shaped hall. The walls remain
reflective and are architecturally finished in any manner required, if sound absorbing
material is not required from other considerations. Where the side walls are parallel they are
left untreated to a length of about 7 meter from the proscenium end. In addition, any of the
surfaces likely to cause a delayed echo or flutter echo is appropriately treated with a sound
absorbing material. Difference between the direct path and the path reflected from side
wall does not exceed 1meter.
Roof and ceiling
The requirements pertaining to a roof are mainly governed by architectural, engineering or
economic considerations. In large theater hall a false ceiling is usually provided below the
trusses. The portion of the false ceiling near the proscenium is constructed of reflective
material ( usually plaster of Paris) and is suitably inclined to help reflections from the stage
to reach the rear seats of the hall. The remaining portion of this ceiling is constructed to take
acoustical treatment. Concave shaped ceilings (in the form of dome or barrel) are avoided.
The rear portion of the ceiling is treated with sound absorbing material partly for control of
reverberation and partly to prevent build-up of audience noise.
Seating arrangement
For good visibility as also for good listening conditions, the successive rows of seats are
raised over the preceding ones with the result that the floor level rises towards the rear. The
elevation is based on the principle that each listener shall be elevated with respect to the
person immediately in front of him so that the listener's head is about 12 cm above the path
of sound which passes over the head of the person in front of him. It is possible to reduce
this to 8 cm, if the seats are staggered . As an empirical rule the angle of elevation of the
inclined floor in an auditorium is not less than 8 degrees.
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Door and Window
Where the external noise level is high, properly fitted door and windows are provided. Their
rebates are lined with draught strip rubber or felt. In the case of existing doors and windows
where leakage of sound is observed it is necessary to improve the fitting of the shutters and
at the same time, provide draught rubber.
Seats
The seats are arranged in concentric arch of circles drawn with the centre located as much
behind the centre of the curtain line (curtain line) distance from the auditorium rear wall.
Seats are staggered sideways in relation to those in front so that a listener in any row is not
looking directly over the head of- the person in front of him.
Reflecting surfaces are designed as to aid distribution of sound. Those areas which cause
objectionable sound reflection and are treated with sound absorbents are earmarked for
treatment with sound absorbing material. These areas are (a) the rear wall, (b) the balcony
parapet, (c) any areas which may reflect sound back to the stage, (d) concave areas which
have a tendency to focus sound in certain places, and (e) such other areas as will contribute
to indirect sound arriving at any point in the theater later than 50 milliseconds after the
direct sound. The rest of the sound absorbing material introduced below are also used as
sound absorbing materials:
a) Acoustic plaster ( a plaster which includes granulated insulation material with cement };
b) Compressed cane or wood fiberboard, imperforated and perforated;
c) Wood particle board;
d) Compressed wood woo);
e) Mineral/glass wool quilts and mats;
f) Mineral/compressed glass wool tiles;
g) Composite units of perforated hardboard backed by perforated fiberboard;
h) Composite units of perforated board (hardboard, asbestos board or metal sheet)
i) Special absorbers constructed of hardboard, teak ply, etc.
In an ideal theater, most of the absorption is provided by the audience. This is relatively
more in the high frequency range than in the middle or in the low frequency range. It
therefore, becomes desirable to introduce special low frequency absorbers ( such as
wooden paneling used as wainscot or otherwise) on ceilings and walls which provide the
requisite amount of absorption so as to achieve optimum reverberation- time over as wide a
frequency range as possible. The amount of the absorptive materials required are calculated
on the basis of the absorption values at one or more frequencies in each of the low.
Acoustics of the halls are designed so as to ensure proper conditions for listening, assuming
that a person may speak or listen from anywhere in the theater. Optimum reverberation
time is chosen. It may be noted that too long reverberation time muffles and confuses the
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speech intelligibility while too short time prevents build-up of proper level for good
listening. Use of sound amplification system are avoided as far as possible. But where
necessitated, because of size or other requirements, low level loudspeakers are provided for
individual or a group of seats. Absorbent material is distributed evenly over the waIl surfaces
of the theater . Ceiling is not domed and is not higher than 6 meters. Acoustical treatment
on the ceiling are confined to peripheral regions only.
Comparative analysis of Ancient Theater and

Modern Theater
The study of both Ancient and Modern Indian stage has drawn a lot of similarities and
differences between the design parameters and considerations of both eras. Also, the
social, political and economic conditions of two different eras has shown a lot of other
aspects of theater architecture that have remain untouched till date. The comparative
analysis of Ancient and Modern Indian Theater has a lot to convey and it can be majorly
divided as follows:
Site selection
In case of both Ancient and Modern theater architecture site selection has been a key point
of designing. It is clearly stated by Bharat Muni in Natyashastra that selection of the site has
to be done with utmost care keeping in mind that there is no skeletons, corpse, large
granules , loose soil at the site. The use of black soil by Bharat Muni states the importance of
strong and stable ground. Also it is clearly stated in Natyashatsra to have an well leveled
ground as a site.
Whereas in modern theater architecture also the most important part of designing depends
on the location and condition of the site. A noise free, well leveled and land with stable
ground is considered to be best .
Designing and Planning

Designing and planning of the theater house is the most important aspect of theater
architecture. In Natyashashtra, second chapter deals with the design aspect of the play
house. Three types of theater house (Rectangular, Square and Triangular) and each with
35

three varieties (Small, Oblong and large) has been clearly mentioned in Natyashashtra. Also
the division of spaces has an important part in it. Bharat Muni has clearly mentioned about
dividing the playhouse in two equal parts and then further dividing the area containing stage
in two equal parts creating a green room behind. Also a side gallery i.e. Mattvarini is also
incorporated in Bharata's theater. Further the stage has also provided with a plinth of height
1-1.5 hastas. Seating arrangement has also been mentioned clearly in Natyashashtra. A
hindrance free and non obstructing seat row is promoted by Bharat Muni. Positioning of
doors and windows have also been placed with utmost care in Bharat Muni's theater.
Positioning of doors opposite to each other has been clearly opposed by Bharat Muni.
Windows of small size is favored in Bharata's theater in order to incorporate less breeze
inside the theater house.
Bharat Muni design principles were too advanced and accurate that there traits can still be
seen in Modern Play house. Majorly whatever Natyashastra has stated all can be seen easily
in today's time. Theater house of rectangular, semicircular and square shape can be easily
seen in today's time. Theater in present days do not posses half of the space to spectators.
Generally 75% of space is provided to spectators and rest 25% space is assigned to stage and
green room area. Unlike Bharata Theater modern theater do posses a green house above
the stage. Mattavarini in Bharata's theater can be seen as a gallery attached on both the
sides of the stage meant for the installations of technical machinery such as props etc. The
plinth size of the stage posses a range of 450 to 900 mm .In today's time rigid and stable
stages are less favored. Stage with temporary fittings and sometime revolving stages can be
easily seen in present times. Semi circular seating is used in order to acquire a large
spectator space with a quality view to major people.
Acoustics
Bharat Muni's has minutely placed each design element by keeping the acoustics in mind.
With no sign of technology and advancement Bharat Muni's had a major challenge to
convey each and every single words and bhava of the performer to the spectators. So
utmost care was taken in the use of materials and positioning of design elements. In ancient
theater wood, brick and stone were used in construction of the play house. Wood being soft
and easy to be carved was decorated with a lot of floral motifs and designs which helped in
breaking the monotony of the plain surface of the wood and resulted in creating an uneven
surface which resulted in absorbing of sounds and lessened the echo effect. Shape of the
roof was designed as that of a cave in order to provide a concave shape of the roof which
provided a depth to the roof and hence reduced the percentage of reflected sound back to
the spectators. Less number of windows and doors resulted in less hindrance and avoided
the unwanted sounds which proved to be bad for a theater performance. Windows being
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less in number also created no chance of breeze inside the theater house which also made
theater house more audible and speech friendly. Curtains and paintings were also used as
sound absorbent material. Roof were made of thatched roof which enhanced the audibility
of speech.
Same acoustics practices are still followed in today's time in modern theater. Theaters are
however made with R.C.C. but still the cladding of the materials, shape and designing of the
theaters have enhanced the acoustics of the theater from past. Rib shaped roof and false
ceiling designs have played an key role in acoustics. Various kinds of acoustic materials such
as PVC board, Hardboard etc. have helped in developing the acoustical properties of the
theater aesthetically. Also the use of carpet has been a plus point for the modern theater
houses.
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Conclusion
Theater architecture in India has gone through a journey of long human history and his
devotion towards art and theater. From the advent of life on earth human made various
ways to deliver his thoughts, beliefs and actions through art and its form. India being the
origin of first human settlement is also the first place where theater started. In Greece when
theater was started, India was full of theater activities and enriched with ethnic literature
and tradition.
As time passed a lot of changes evolved in Indian culture and social conditions. With the
start of foreign invasion, Indian culture had a turmoil and as a result theater arts were also
affected. From the theater of Bharat Muni till the theater of 21st century a lot of things have
changed and evolved with the time period. Indian being a country rich with its ethnic folk
arts and traditions has a enriched theater history and the changes from the tide of time has
evoked a spark of change in its culture a lot.
With the advancement of British in India technology arrived; and that can be easily seen in
the theater of our modern cities in present times. Cities like Delhi, Mumbai, Chennai and
Kolkata theater houses have evolved a lot. The theaters we see in these cities deliver the
story of change in the spectators, performers and theater space. With this study it is clear
that what Bharat Muni mentioned in Natyashashtra was based on the Vedic traditions and
customs. This fact also cannot be denied that whatever Bharat Muni mentioned was totally
depended upon the social, economic and political conditions of that time. But when we
bring the studies of Bharat Muni in the light of 21st century we find that the studies made by
him were the epitome of advancement, extensive study and far sightedness what he had.
Theater arts, construction technology and aesthetics based by Bharat Muni's Natyashashtra
holds the same position today what they held in ancient India. It is excepted that the cultural
division of caste, creed and race that has been depicted in ancient theater arts are not to be
taken in serious note but at the same time it is to be also seen that the studies of Bharat
Muni if incorporated by with advance building techniques, acoustics, aesthetics and smart
flexible design it will lead to the birth of a theater house which would be grounded on the
principles of ancient techniques and theater arts and its structure will be based upon the
modern technology and the needs of the both performers and spectators.
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Case Studies
39
Prithvi Theater, Juhu
A view of Prithvi Theater. Built in 1978

by Shashi Kapoor
Prithvi Theatre is one of Mumbai's best known theatres located in Juhu. It was built
by Shashi Kapoor in memory of his father Prithviraj Kapoor who had dreamt of having a
"home" for his repertory theatre company, Prithvi Theatres belongs to the Kapoor family,
one of the most influential actor/director families in Bollywood. Prithviraj Kapoor founded
'Prithvi Theatres', a travelling theatre company in 1944. The company ran for sixteen
years. Ved Segan was the architect who designed and built the Theatre with the supervision
of Jennifer Kapoor, Shashi Kapoor's wife.
40
Stage Description
Prithvi Theater comprises of one stage which only deals with theatrical performances since
1980. It is a Thrust stage. The auditorium has dimension of 12mt x11mt. The central stage has
a dimension of 7mtx4mt . It has a seating arrangement of five rows each having a height of
450mm. It has a seating capacity of 220 individuals. The central stage has the height of
150mm. Total height of the theater is 4.5 mt.
Images showing the inside layout of the theater and the central stage of the Prithvi Theatre
41

Material
The stage is constructed with the teakwood panels. Hollow inside stage has a good sound
absorbing qualities which reduces the tapping sound of the artist.
The background of the stage is semi circular in shape and black in color. Its permanent in
nature. Jute mats are there on the floor everywhere except the central stage.
The walls of the theater are black in color wrapped with cotton cloth and covered with
acoustic mineral board all over. The all three walls except the background are made uneven
in nature by using the wooden panels of different thicknesses.
Acoustics & Lighting
The acoustics of the theater are good enough. As the usage of mike is prohibited for theater
actors it becomes quite easy for an old acoustics systems to tackle the problems related to
acoustics.
The depth of the theater is apt n appropriate and as a result a good quality of speech is
received by the audience present inside.
Lighting systems inside the theater are excellent. Good sets of focus lights are present there
above the central stage. Theater artists are accompanied well with the help of lights during
the play.
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Tata Theater
Tata Theatre is a 1010 seat premier staging facility for music, dance and drama at
the NCPA complex in downtown Mumbai, and is the brainchild of Dr. J.J. Bhabha. It is Indias
first theatre designed and built keeping in mind the unique acoustic and visual requirements
for the staging of Indian music, dance and related art forms, and was constructed by Larsen
& Toubro Limited.
Theatre without proscenium; fan-shaped amphitheatre with excellent acoustics. Suitable for
chamber music concert, dance, drama and film screening. Centrally air-conditioned
Keeping in mind the traditional seating requirements at Indian classical musical concerts and
performances, the Tata Theatre stage is built in the almost semi-circular thrust shape. The
alternate concave and convex triangular forms on the overhead and the wall panelings
ensure even distribution of acoustics over the entire auditorium. The acoustic forms of highdensity compressed plaster were handmade and lifted manually up into their positions. The
43

architects ensured that every musical instrument played in the orchestra could individually
be heard and appreciated in every corner of the auditorium.
It effortlessly combines the intimate ambience of a small -scale venue with the
splendor of a full scale arena. A revolving stage, brilliant acoustics and a foyer
with a breathtaking view of the sea are just some of the things that make the Tata
Theatre the venue of choice for both, performers and audiences.
Created by the renowned American Modernist architect Philip Johnson and the
legendary acoustician Cyril Harris, this theatre opened in 1982. Today, it is
Mumbai's preferred venue for Indian classical concerts, Western chamber music
and theatre.
Tata Theater Foyer
Inside View
44
Entrance Porch
National School of Drama
National School of Drama (NSD) is a theatre training institute situated at New Delhi, India. It
is an autonomous organization under Ministry of Culture, Government of India. It was set up
in 1959 by the Sangeet Natak Akademi, and became an independent school in 1975. In 1975 it
became autonomous organization, under the erstwhile Ministry of Education and Ministry of
Culture, Department of Culture, with the name 'National School of Drama' and relocated in
May 1975, to its present premises at Bahawalpur House, the residence of Bahawalpur a
former princely state, now in Pakistan, also known as Mandi House. In 1999, the School
organized its first National Theatre Festival, 'Bharat Rang Mahotsav, generally held during
the second week of January each year.
The schools has three auditorium within the campus:
Abhimanch Auditorium
Sammukh Auditorium
Bahumukh Auditorium
Abhimanch Auditorium is the biggest performing space at NSD. It has a seating capacity of
350 persons. It is a Thrust stage. The auditorium has dimension of 20mt x40mt. The central
stage has a dimension of 7mtx4mt . It has a seating arrangement of sixteen rows each
having a height of 450mm. The central stage has the height of 450mm. Total height of the
theater is 4 mt.
45

The stage is constructed with hardwood timber flooring, hollow from inside. It has a plinth
of 450 mm. It is covered with red carpet all over. The rear wall is square in shape, black in
color and flexible to be changed according to various plays that take place. The auditorium is
centrally air conditioned with four doors; two for spectators and two for performers. No
windows are there in the auditorium.
The seating area is divided into two parts; one with upper level and other with lower level.
Lower level has a seating arrangement of concave shape and upper level has straight
seating.
The walls are prepared in a simple manner. The materials used for the walls are stone
(marbles), pop etc. The special acoustic forms are made up of high density compressed
plaster(P.O.P) for the ceiling. Wooden panels are also used in the auditorium. These panels
are filled with coconut hair as it is a good reflector.
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Vishnudas Bhave Natyagriha, Mumbai
Vishnudas Bhave Natyagriha is located in Sector 16, Vashi, Navi Mumbai. The site occupies an
area of 51,000 sq. ft. of built-up space. The site lies in a residential cum commercial area
Vishnudas Bhave auditorium was designed was opened in 1997.
Major hub for various theatre and other cultural activities.
It is a fan shaped theater.
The theatre has a rotating stage.
It has a capacity of 1072 viewers in two tiers.
It has excellent acoustics.
The theater also has a balcony level seating's.
The theatre is centrally air-conditioned.
The height of the auditorium is 12m
The total seating capacity of the theatre is 1500.
The theatre is fan shaped, hence the seating arrangement is divided into 4 segments.
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Bibliography
The Natyasastra ascribed to Bharata-Muni, Vol.1 ed. by M.Ghosh, Calcutta, 1967.
The Natyasastra : A Treatise on Hindu Dramaturgy and Histrionics Ascribed to

Bharata-Muni, translated by M.Ghosh, Calcutta, Vol.1 (2.ed.) 1967 and Vol.2, 1961.
Raghavan, V.: Theatre Architecture in Ancient India, in The Theatre of the Hindus,
by H.H. Wilson, V. Raghavan, K.R. Pisharoti, A.C. Vidyabhusan, Delhi-Varanasi, s. d.
Keith, A.B.: The Sanskrit Drama, Oxford, 1970 (1.ed.1924).
Hemendra Gupta : Indian Stage, Calcutta, 1959
Baumer, Rachel Van M. and James R. Brandon. eds. Sanskrit Drama in Performance.
Gargi, Balwant. Folk Theater of India. Seattle: University of Washington Press, 1966.
Theatre in India. New York: Theatre Arts Books,1958
The Natyasastra of Bharata. Ph.D Dissertation. University of Wisconsin, 1967.
Richmond, Farley P., Darius L. Swan and Phllip B. Zarrilli. Indian Theatre, Traditions
of Performance. Honolulu: University of Hawaii Press, 1990.
Varadapande, M. L. Invitation to Indian Theatre. New Delhi: Arnold Publishers, 1989.
Traditions of Indian Theatre. New Delhi: Abhinav Publications, 1979.
Vatsyayan, Kapila. Bharata: The Natyasastra. New Delhi: Sangeet Natak Akademi,
1996.
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Journey of Theater Architecture in India

This is to certify that the Dissertation entitled Journey Of Theater

MRS. SHEILY SRIVASTAVA

Journey of Theater Architecture in India

I am grateful to my dissertation guide, Mrs Sheily Srivastava for her

Journey of Theater Architecture in India

Ancient Indian Theater Architecture

Theater According To Bharat Muni(Natyashastra)

Modern Indian Theater Architecture

Present Day Theater in India

Journey of Theater Architecture in India

History / background study of theater

Initially I will show basic information about theatre architecture in India.

Journey of Theater Architecture in India

Journey of Theater Architecture in India

Journey of Theater Architecture in India

Ancient Indian Theater

Journey of Theater Architecture in India

Journey of Theater Architecture in India

Origin Of Theater In India

Journey of Theater Architecture in India

Dramatic Theory Of Veda

Journey of Theater Architecture in India

Theater in Ancient Indian Literature

Journey of Theater Architecture in India

Folk Theatre In India

Journey of Theater Architecture in India

Journey of Theater Architecture in India

Theater According to Bharata Muni

Journey of Theater Architecture in India

Dimensions of theatre are given in Hastas (= 24 angulas) as well as in dandas (= 96

Journey of Theater Architecture in India

Journey of Theater Architecture in India

Detailed Section of an ancient Theater Stage

Journey of Theater Architecture in India

Glossary of Ancient Stage

The theatres mentioned in the Natyashastra are of three kinds :

Journey of Theater Architecture in India

Again, each of them are in three sizes:Jyestha(Large)

Vikrstha Madhyama( oblong theatre of middle size- 64x32 h)

One hasta = 18 inch or 45 cm

Design Aspects of Ancient Stage

Journey of Theater Architecture in India

Journey of Theater Architecture in India

Timing of a Drama Performance

Journey of Theater Architecture in India

Historical Evidences of Theater in India

Journey of Theater Architecture in India

Open air theatre in the royal courtyard of Tanjavur

Open-air construction excavated at Nagarjunakonda

Journey of Theater Architecture in India

Some more historical examples existing till date:

Journey of Theater Architecture in India

Modern Indian Theater

Journey of Theater Architecture in India

Modern Theater in India

Journey of Theater Architecture in India

Types Of Modern Theater

Journey of Theater Architecture in India

Black box theatre

Journey of Theater Architecture in India

Journey of Theater Architecture in India

Thrust and open stage