By Teeratep pannong - Own work, CC BY-SA 4.0, httpscommons.wikimedia.orgwindex.phpcurid=61281447

Natya Shastra (Dramaturgy): The Basis of Performing Arts in Indian Aesthetics

By Teeratep pannong - Own work, CC BY-SA 4.0, httpscommons.wikimedia.orgwindex.phpcurid=61281447

(photo credits)

Natyashastra is an ancient Indian text that lays down the principles of performing arts. It is considered to be one of the most comprehensive treatises on performing arts, including music, dance, and drama. The authorship of the text is attributed to Bharata Muni, who is believed to have lived around the 2nd century BCE. The text comprises 36 chapters and over 6,000 verses and covers various aspects of performance, including stage design, costumes, makeup, music, and gestures.

One of the key contributions of the Natyashastra is the concept of Rasa, which refers to the emotional resonance that a performance evokes in the audience. The text also lays down the framework for creating and staging a performance, including the use of stage props, the depiction of different characters, and the techniques for vocal and physical expression.

Types of Expression

The Natyashastra also describes the four types of Abhinaya or expression, which are Angika (physical expression), Vachika (verbal expression), Aharya (costume, makeup, and props), and Sattvika (emotional expression). The text also lays down the framework for different forms of music and dance, including the classical Indian dance forms of Bharatanatyam, Kathakali, and Manipuri.

Influences

The Natyashastra has been a significant influence on Indian performing arts and continues to be studied and practiced by artists and scholars. It has also been translated into several languages, including English, and has been a source of inspiration for artists and scholars around the world.

Key Figures

One of the key figures associated with the Natyashastra is Abhinavagupta, a philosopher and aesthetician who lived in Kashmir in the 10th -11th century CE. Abhinavagupta wrote extensively on the Natyashastra and developed the concept of Bhava, which refers to the emotional states that a character experiences in a performance. He also expanded on the concept of Rasa and described the different types of Rasa that can be evoked in a performance.

Key Learnings
  • The Natyashastra is a significant text in the Indian aesthetic tradition and has had a profound influence on performing arts.
  • Its principles and concepts continue to be studied and practiced, and its legacy can be seen in the rich and diverse performing arts traditions of India.

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6 responses to “Natya Shastra (Dramaturgy): The Basis of Performing Arts in Indian Aesthetics”

  1. […] the principles of performing arts and discusses the concept of beauty in detail. According to the Natyashastra, beauty is not just a matter of appearance but also of inner qualities such as grace, charm, and […]

  2. […] most notable contributions to Indian aesthetics is his commentary on Bharata’s Natyashastra. In his commentary, Abhinavagupta expands upon the theory of Rasa, providing a more comprehensive […]

  3. […] concept of Riti has its roots in the Natyashastra, an ancient Indian text on the performing arts. It is believed to have been written by the sage […]

  4. […] concept of Rasa was first mentioned in the Natyashastra, written by the ancient Indian philosopher Bharata Muni. According to him, a good piece of art […]

  5. […] Sadanga is one of the six limbs of Indian Art, as outlined in the Natyashastra, a treatise on the performing arts. Dharmi refers to the manner in which the actor or performer […]

  6. […] concept of dosha has been discussed in various texts of Indian Aesthetics, including the Natyashastra, which provides a comprehensive list of doshas. According to the Natyashastra, there are 20 doshas […]

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