Natyashastra through eyes of a millenial
A pop-culture guide to the world’s most comprehensive work on performing arts
Natyashastra is an ancient Indian Sanskrit text on performing arts. Although, literally, natya-shastra means drama-study, Natyashastra is not limited to drama. In fact, it encompasses a whole gamut of dance, drama, music and poetics, embellished with rich mythology.
Spanning across 36 chapters and more than 6000 verses, Natyashastra is an encyclopedic work covering topics from structure of a play and the construction of a stage to genres of acting, body movements, make up and costumes, role and goals of an art director, grammar, the musical scale and what not.
Natyashastra has both narrative as well as didactic elements, i.e. it describes activities as well as lays down rules to perform them. A scholar named Bharata is considered to be the author of Natyashastra, who composed it around the first century BC. Prior to that, there were such works separately on drama or dance or music or existed in oral forms. Bharata compiled all the prevalent works and oral traditions into one huge comprehensive text.
Birth of performing arts and the first play
Natyashastra begins with a very very rich story of how performing art came into being. It says that all the demi-gods and guardians and demons and gods, led by Indra, gathered around Bramha and requested him to create something for audio-visual entertainment and which would be accessible to all (because the original four vedas were accessible to only a few guys). So Bramha created Natyaveda as the fifth veda using specific ingredients from each veda. Bramha now wanted somebody to be in charge of Natyaveda and spread it further.
Gods refused to take the responsibility- Sir, we came here to enjoy, not to learn or to teach. From behind the gathering, came a feeble voice- I will. Everybody turned their faces back to see a frail old man with a long beard. It was Bharata.
Bharata then returned to his home and summoned his 100 sons (What? Yes, Bharata claims he had a hundred sons and devotes 13 verses only to mention their names! Nice names though.) He assigned a part of drama to each of his sons and they practiced and were aided by Swati and Narada and the Apsaras. After several days of practice, finally the first play ever was made. It was based on the event of victory of Indra over the Asuras. Bharata invited gods and Yakshas and Asuras and guardians to be the audience to his play.
And then things started to go south. It was soon a really complicated set of events where Asuras felt humiliated and battled against the gods once again and then Indra went super saiyaan, full glowing eyes, thunders and lightening in the background and with his lit weapon Jarjara, Indra won again, easily. (Alexa, play Immigrant Song by Led Zippelin)
Vishwakarma, the architect, then built a theatre and all the gods and the demi-gods were then placed at strategic locations and directions to protect the people working in a drama from any such hurdle that might come in future.
THE RASA THEORY
Perhaps the most important chapter of Natyashastra is Chapter 6- The Rasa Theory.
Rasa refers to aesthetic experience. Rasa can be roughly translated to taste. Experience of rasa is kind of empathising with the character and the story. Although it has a complex definition in Natyashastra, rasa can be simply formulated as:
Vibhava + Anubhava + Vyabhicharibhava = Rasa
Vibhav refers to determinant conditions (cause), Anubhava is the result of Vibhav (effect) and Vyabhicharibhavas are temporary emotions. More on this, in the later half of the article.
Rasa is basically an aestheically relishable unique experience. It is kind of a sentiment, that is related to the story, the character as well as the audience. Rasa is kind of a knowledge. It is one of its own kind. Through rasa, we get to know a feeling better. Rasa is the cognitive tasting of sentiments.
Bharata describes 8 rasas:
1. Shringara (Love)
Since love is the most dominant feeling in human life, it is the most important rasa. It is set in beautiful surrounding to beautiful music. It is characterised by graceful expressions. Shringara is of two types- Sambhoga (union) and Vipralambha (separation)
2. Hasya (Comic)
6 types of laughter are given, in ascending order of their intensity- Smita (gentle smile), Hasita (smile), Vihasita (laughter), Upahasita (laughter with ridicule), Apahasita (uproarious laughter) and Atihasita (convulsive laughter).
In other words,
3. Karuna (Pity)
Karuna is the pathetic sentiment. It is one which makes the spectator feel sorry for the character in the play.
4. Raudra (Fury)
Raudra is associated with evil persons of violent nature, who cause fights. There is cruelty, beating, bloodshed and inflicting pain. It is expressed through rage and vengeance.
5. Bhayanaka (Terror)
Bhayanaka is the feeling of panic and dread brought on by the anticipation of danger. It denotes weakness of heart and wan of strength in character. There are 3 kinds of fear- Aparadha (horror due to grave mistake) , Vyaja (fictitious fear), Vitrasita (fear complex)
6. Vira (Bravery)
Vira rasa is generally related to noble and brave individuals and their heroic deeds. It is characterized by courage, boldness and confidence. Bharata says there are three types of Viras- Daanvira (philanthropist), Dharmavira (righteous) and Yuddhavira (warrior).
7. Bibhatsa (Odious)
This rasa is associated with ugly undesirable scenes. It is the rasa of disgust. Bibhatsa is said to be of two types- Shuddhaja (nauseating) due to disgusting insects and reptiles and Udvegaja (exciting) on account of display of blood.
8. Adbhuta (Marvellous)
This is what is actually meant by the otherwise universal “awesome”. The Adbhuta rasa is again classified as Divyaja (celestial, exquisite) and Anandaja (joyous, pleasurable)
Later scholars added another rasa Shanta (calm) to make it a cube set of 9 sentiments, called Navarasa.
Navarasas are often conveyed through expressions of actors-
Sometimes, individual characters represent a rasa-
Or quite often, the entire course of events of a drama follow the sequence of rasa, more or less, in the same order-
Sahradaya
Bharata says these rasas and anubhavas can be best experienced by a Sahradaya. Sa-hradaya literally mean one with similar heart. Sahradaya is a person who has a good aesthetic taste and a sensitive heart. Basically, sahradaya is person who can feel.
BHAVA
Bhava is something which conveys the intended meaning.
Vibhava
Vibhavas are the determinants or the causes of feeling in a spectator. Basically, Vibhavas are the words or actions or expressions of actor that invokes feelings in the audience.
Sthayibhava
We, humans, have two types of feeling- the dominant or permanent feelings and the auxiliary or temporary feelings. Sthayibhava are dominant states or permanent emotions. All human beings have some basic emotions like joy, sorrow, anger, fear, etc that drive our overall behavior. Just like the Inside Out guys.
Bharata in Natyashastra mentions 8 Sthayibhavas:
1. Rati (love)
2. Hasa (mirth)
3. Shoka (sorrow)
4. Krodha (anger)
5. Utsaha (fortitude)
6. Bhaya (fear)
7. Jugupsa (disgust)
8. Visamaya (wonder)
Now, the process goes this way: Vibhavas will invoke in us Sthayibhavas. Thus, sad expression by the actor or a tragic event in the drama will invoke Shoka in us and likewise. So-
In other words,
Vyabhichari bhava
Vyabhichari bhavas are the auxiliary or temporary feelings in human beings. They are transitory states, they come and go quite frequently. Bharata lists as many as 33 transitory feelings. It’s a convincingly interesting list.
Well, that’s enough for the day, I guess. But it is just the 6th and the 7th chapter of Natyashastra. In its 30 more chapters, Bharata codifies very minute details of almost everything that comes under a drama.
Natyashastra stresses the importance of nepathya (backstage) of a drama. Bharata believes that nepathya is as important to success of a play as the acting or the plot. He gives four components of nepathya-
Pushta (model work)
Alankara (decoration)
Anga-rachana (painting body)
Sanjiva (living creatures)
For as trivial a thing as archery, Natyashastra contains a well-described section. There are 4 acts related to archery-
Parimarjana (preparing the bow)
Aadan (taking an arrow)
Sandhana (aiming)
Mokshana (shooting the arrow)
Another instance we can take is of 4 Nyayas (ways) of using a weapon for hitting purpose-
Bharata (hitting waist)
Sattvata (hitting foot)
Varshaganya (hitting chest)
Kaisika (hitting head)
As one might have noticed till now, what makes Natyashastra more engaging is the enumeration. Bharata enumerates every topic he wishes to write on. He classifies them into specific numbers. Thus, Natyashastra details 100 sons of Bharata, 10 types of play, 36 indicators of a good play, 10 faults and 10 merits, 26 rhythm types, 36 glances, 37 gestures of hand, 13 gestures of head, 9 of eyeball, 8 of eyelid, 7 of eyebrows, 6 each of nose, cheeks and lips, 7 of chin, 9 of neck; and als-
Ok. Let’s take just one of them, say, play.
10 TYPES OF PLAY:
Natyashastra talks about 10 types of play:
1. Nataka
In Nataka, the hero is a well-known celebrated person of exalted nature. He gets success in different undertakings. He has amorous pastimes. Nataka is a sort of comedy. Bharata doesn’t permit death or defeat of the hero in Nataka, though his capture can be reported.
2. Prakarana
Prakarana is similar to Nataka, but takes place at a less elevated range. There’s comparatively less exaggeration here. The plot is original with real life characters and setting. The main character is not an exalted hero. The story doesn’t feature Gods or kings. Love, although present, is not the primary theme.
3. Samavakara
Samavakaara is the dramatic representation of mythological stories, featuring Gods and Asuras (demons). Samavakara is characterized by three themes: excitement, love and deception (kapat). Here, again the main character is well known and of exalted nature.
4. Ihamrga
In an Ihaamrga, demi-gods fight each other. It has a well arranged and a convincing plot. Finally, when one of them is on the point of killing the other, the battle is avoided by some artifice.
5. Dima
Dima has a well constructed plot, a relatively dark and serious theme with absence of hasya (comic) and shringaara (love) rasas. Other elements include jugglery and dissent and deceit, where it is difficult to trust anyone.
6. Vyayoga
Vyayoga again has well known hero. The events are to of be of one or two days. Elements of Vyayoga are challenge, combat, battle and angry conflict.
Further, Bharata says that a Nataka and Prakarana should have 4 to 5 characters, whereas Samavakaara, Ihaamrga and Vyayoga can have 10 to 12 characters.
7. Utsrshtikanka
It features only human characters. The central theme of the plot is generally well known and karuna rasa (pity) dominates. Most of the events (especially battle) takes place in a specific exotic location.
8. Prahasana
Prahasana is sort of a farce. The hasya (comic) rasa predominates. The story contains plenty of jocular remarks and laughter is key element. The main character is a person of low repute. The language is realistic.
9. Bhaana
Bhaana is heavily focused on a single character and it also features a rogue character. The chief character gives repeated answers to questions supoosed to be asked by a person who remains invisible throughout. There is special importance to specific movements of hands.
10. Vithi
Not much specifics are available for vithi. The story is of very short duration. There are three types of characters- superior, middling and inferior.
Well,
Still more than 25 chapters remaining. That’s Natyashastra folks.
If you are not quite a fan of this Marvel Cinematic Universe thing, you can relate Natyashastra in other universes as well, say for example-
The 1974 Bollywood film Naya Din, Nayi Raat (New Day, New Night) featured Sanjeev Kumar (the guy who always played elder roles) in 9 different roles. Each of the roles he played in the movie represents a rasa. Interesting, right?
POST-CREDITS
In a different part of the world, around the same time, another work on arts and aesthetics was making much news. It was Poetry by Aristotle. His compilation deals with 3 types of plays- Epic, Comedy and Tragedy, out of which, sections dealing with Epic and Comedy are not available this date, only Tragedy remains.
Aristotle says that Tragedy is characterised by seriousness, and involves a great person who experiences reversal of fortune (Peripeteia) and downfall of his recognition. Tragedy results in Catharsis (emotional cleansing) for audience through their experience of fear and pity in response to suffering of characters in the drama. Aristotle gives 4 types of tragedy: Tragedy of Spectacle, Tragedy of Character, Tragedy of Suffering and Complex Tragedy-
Here’s a link to my old article on Aristotle and a bunch of other scholars immortalized in one painting.
Also, there’s another Sanskrit text Siddhant Shiromani by the mathematician Bhaskara, which has a very intriguing section on Madhyarekha: The ancient Indian astronomical line which served as Greenwich meridian of the ancient times.
