Studies in the Nāṭyaśāstra: With Special Reference to the Sanskrit Drama in PerformanceMotilal Banarsidass Publ., 1991 - 354 pagine Studies in the Natyasastra attempts to present all aspects of the performance of Sanskrit Drama of the classical period. For this, the material available in the Natyasastra and other works on dramaturgy, sculptural evidence and the traditions of classical-dance-drama styles in the various parts of the country are made use of. The book will, in fact, be of great use to the scholar inteested in the technique of the production of Sanskrit plays. |
Parole e frasi comuni
Abhinava according actors ancient Indian Añcita Angahāras Arjuna audience back curtain Bharata Bhāsa Bombay Brahmins breast Cakyārs Cārī characters chariot classical colour connection costume dance dancer deities described dhoti Dhruvās drums elephant employed enacted entry exit exit song eyes face feet female fingers foot front gait gesticulation gestures green-room Hastas head-dress hence hero Heroic Hindu Indian Theatre indicate instrumental music Jāti Kalās Kālidāsa Karanas Kathakali King Kuñcita Kūṭiyāṭṭam Kyogen Lakṣmaṇa left hand lower garment Madras Mahābhārata Malayalam Marathi masks Mattavāraṇī mood move round movements mudrās N.S. Press Nandi Natya notes Nṛtta orchestra Pāṇini performance pillars Poona Prakrit Prof Queen Rāgas Raghavan Rāma Rāmāyaṇa Ranga Rangapitha Rāvana recitation representation role Sanskrit Drama Sanskrit plays says scene sentiments Shri side singing Sītā song spectators speech Śrutis sung Surpanakha Sutradhara Svastika Tāla tempo Trichur trika upper garment verse Vidūṣaka waist women words worn
Brani popolari
Pagina 4 - If we suppose that this dialogue was repeated at sacrifices in honour of the Maruts, or that possibly it was acted by two parties, one representing Indra, the other the Maruts and their followers...
Pagina 9 - Mahäbhäsya were the persons who explained matters to the audience to supplement either dumb actors or shadow figures. The recitation of the Epics was illustrated through the use of shadow figures. This, united with the art of the Natas, gave birth to drama. We know that3 the word Saubhika has no relation to shadow and it is not explained in that sense by any authority. The term Ghäyänätaka which is interpreted as shadow play may denote a drama in the state of a shadow.
Pagina 6 - Saurasem prakrt and we can only suppose that it is so because it was the ordinary speech of the people among whom the drama first developed into definite shape. Once this was established, we may feel assured, the usage would be continued...