NATYA SHASTRA OF BHARATA

(Redirected from Natyashasthra)

The '''Natya Shastra of Bharata''' ( ''Nātyaśāstra'' नाट्य शास्त्र) is the principal work of dramatic theory in the Sanskrit drama of classical India. It was written by the sage Bharata Muni. It is a set of precepts on the writing and performance of dance, music and theatre.
While the ''Natyasastra'' primarily deals with stagecraft, it has come to influence music, dance, and literature as well. Thus, an argument can be made that the ''Natyasastra'' is the foundation of the fine arts in India.

Contents

Text and title

Theory

Rasas

Music

See also

Books and References

External links

Text and title

This ''Natya Shastra'' was written by the sage Bharata Muni who, it is claimed, was directly inspired by the god Brahma. It is believed to have been written during the period between 400 BC and 200 AD. Some scholars believe it was written by various authors at different times.
The text is written in the Sanskrit language, and consists of 6,000 ''sutras'', or verse stanzas, incorporated in 36 chapters. There are some passages that are composed in a prose form.
The name can be loosely translated as ''The Textbook on Drama''. ''Natya'', or ''nataka'' means drama, and in contemporary usage does not include dance. However, ''nataka'' originally derives from the word meaning "dance" (root: ''nat''). This suggests that in traditional Sanskrit drama, music and dancing, as well as acting, were important.

Theory

This ''Natya Shastra'' is incredibly wide in its scope. It consists of minutely detailed precepts for both playwrights and actors.
Bharata describes 15 types of drama ranging from one to ten acts. In addition, he lays down principles for stage design, makeup, costume, dance (various movements and gestures), a theory of aesthetics (''rasas'' and ''bhavas''), acting, directing and music, each in individual chapters.
Bharata sets out a detailed theory of drama comparable to the ''Poetics'' of Aristotle. He refers to ''bhavas'', the imitations of emotions that the actors perform, and the ''rasas'' (emotional responses) that they inspire in the audience. He argues that there are eight principal ''rasas'': love, pity, anger, disgust, heroism, awe, terror and comedy, and that plays should mix different ''rasas'' but be dominated by one.

Rasas

Main articles: Navarasa


One of the most important concepts in the ''Natyasastra'' is the experience of ''rasa'' (translated sometimes as 'emotions,' 'sentiments' or 'flavor'). ''Rasa'' are the emotional states that the refined and educated Sanskrit Drama audience members experiences as they watch a play. Each ''rasa'' experienced by the audience is associated with a specific ''bhava'' portrayed on stage. For example, in order for the audience to experience ''srngara'' (the 'erotic' ''rasa''), the playwright, actors and musician work together to portray the ''bhava'' called ''rati'' (love).
The ''Natyasastra'' identifies eight ''rasa'' and eight corresponding ''bhava'':
'''Rasa''' '''Bhava'''
''Sringara'' (Erotic) ''Rati'' (Love)
''Hasya'' (Comic) ''Hasya'' (Mirth)
''Karuna'' (Pathetic) ''Soka'' (Sorrow)
''Raudra'' (Furious) ''Krodha''(Anger)
''Vira'' (Heroic) ''Utsaha'' (Energy)
''Bhayanaka'' (Terrible) ''Bhaya'' (Terror)
''Bibhatsa'' (Odious) ''Jugupsa'' (Disgust)
''Adbhuta'' (Marvelous) ''Vismaya'' (Astonishment)
A ninth ''rasa,'' called ''Shaanta'' (Peace), was later extrapolated from the eight identified in the ''Natyasastra''.

Music

Indian Classical Music is based upon two essential principles of Music:
1. Establishment of Shadja षड्ज gram
2. Principle of Consonance
The first principle states that there exists a fundamental note in the musical scale which is Avinashi अविनाशी and Avilopi अविलोपी that is, the note is ever-present and unchanging. It has been named Shadja -- 'giving birth to six' -- because through this, the placement of other notes in the scale is determined.
The second principle, often treated as ''law'', states that there exists a natural consonance between notes; the best between Shadja and Tar Shadja, the next best between Shadja and Pancham.
It was in his Natyashastra that Bharat established both these principles. Apart from these he gave several suggestions about music and its application to vocal, instrumental and orchestral compositions.

See also

★ Navarasa

★ Sanskrit Literature

★ Mani Madhava Chakyar

Books and References

Bharatamuni. 'Natyashastra'. 2nd rev. ed. Trans. Manmohan Ghosh. Baroda: G.O.S., 1956.
Nanyadev. 'Bharat Bhashsya'. Khairagarh Edition.
Chākyār, Māni Mādhava. 'Nātyakalpadrumam', Sangeet Natak Academi, New Delhi, 1975
Brahaspati, Dr. K C Dev. 'Bharat ka Sangeet Siddhant'.

External links

★ Nãtya Shãstra

★ Articles on Omenad