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Relevant bibliographies by topics / Drama. Sanskrit drama Sanskrit

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Academic literature on the topic 'Drama. Sanskrit drama Sanskrit'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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Journal articles on the topic "Drama. Sanskrit drama Sanskrit"

1

Meenatchisundram, Letchumi. "Drama traditions of the Sanskrit." Journal of Indian Studies 5, no. 1 (1993): 30–42. http://dx.doi.org/10.22452/jis.vol5no1.4.

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Figueira, Dorothy. "Fear in Greek and Sanskrit Drama." Rocznik Komparatystyczny 8 (2017): 191–202. http://dx.doi.org/10.18276/rk.2017.8-09.

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Yuditskaya, Ekaterina A. "Somniloquy and Daydreaming in Classical Sanskrit Drama." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 3 (2021): 216. http://dx.doi.org/10.31857/s086919080015159-1.

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Bindu, Karin. "Miḻāvu – göttliches Perkussionsinstrument im südindischen Sanskrit-Drama Kūṭiyāṭṭam". Anthropos 111, № 2 (2016): 395–414. http://dx.doi.org/10.5771/0257-9774-2016-2-395.

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Raghavan, Sujatha. "ALANKARAS IN RATNAVALI." International Journal of Research -GRANTHAALAYAH 4, no. 10 (2016): 126–31. http://dx.doi.org/10.29121/granthaalayah.v4.i10.2016.2501.

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RATNAVALI Drama was written by SRI HARSHA a famous poet in Sanskrit. It contains four acts. Udayana is the courages Hero and Rarnavali is heroine in this drama. The main sentiment in this drama is SRINGARA, and main Virtham is KOWSIKI. Here the author describes the love between Udayana and Ratnavali in heart touching and beautiful manner. Many types of Alankaras used for this purpose which was taken from Kuvalayananda.

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Gerow, Edwin, and B. K. Thakkar. "On the Structuring of Sanskrit Drama: Structure of Drama in Bharata and Aristotle." Journal of the American Oriental Society 106, no. 4 (1986): 880. http://dx.doi.org/10.2307/603609.

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Johnson, W. J. "Playing Around with Śakuntalā: Translating Sanskrit Drama for Performance." Asian Literature and Translation 1, no. 2 (2013): 1. http://dx.doi.org/10.18573/j.2013.10200.

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Salomon, Richard. "Like Father, Like Son: Poetic Strategies in "The Middle Brother" (Madhyama-vyāyoga) Attributed to Bhāsa." Indo-Iranian Journal 53, no. 1 (2010): 1–22. http://dx.doi.org/10.1163/001972410x12686674794330.

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AbstractThe one-act Sanskrit drama Madhyama-vyāyoga or "The Middle Brother" attributed to Bhāsa describes an oedipal encounter between the Pāndava hero Bhīmasena and his half-demon son Ghatotkaca. The author utilizes subtle techniques of word choice and strategic repetition of key words, particularly sadrśa 'like, similar,' to hint at the underlying similarity of the superficially unlike pair. This keyword technique, which is found only sporadically in Sanskrit, is compared to similar techniques in other literatures, particularly the Leitwortstil characteristic of Biblical Hebrew.

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Arpaia, Maria. "Sounds on Stage: Musical and Vocal Languages and Experiences." Greek and Roman Musical Studies 7, no. 2 (2019): 346–69. http://dx.doi.org/10.1163/22129758-12341355.

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Abstract The twenty-four papers delivered at the graduate conference entitled “Sounds on Stage: Musical and Vocal Languages and Experiences” (L’Aquila, 14-16 November 2018) investigated the relationship between music and theatrical performances from a comparative perspective. The presentations dealt with the role of music in several theatrical genres from different cultures and times: ancient Greek drama, musical theater (especially opera), modern and contemporary theater and ancient ritual Sanskrit drama.

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Figueroa Castro, Óscar. "Persuasión y mito en los orígenes del drama sánscrito. A propósito del primer libro del Nāṭyaśāstra". HABIS, № 45 (2014): 151–65. http://dx.doi.org/10.12795/pixelbit.2014.i45.08.

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Dissertations / Theses on the topic "Drama. Sanskrit drama Sanskrit"

1

Goldstein, Elon. "Ethics and Religion in a Classic of Sanskrit Drama: Harṣa's Nāgānanda." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11099.

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Culp, Amanda Louise. "Searching for Shakuntala: Sanskrit drama and theatrical modernity in Europe and India, 1789-Present." Thesis, 2018. https://doi.org/10.7916/D83N3KPN.

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Since the end of the eighteenth century, the Sanskrit drama known as Shakuntala (Abhijñānaśakuntala) by Kalidasa has held a place of prominence as a classic of world literature. First translated into English by Sir William Jones in 1789, in the intervening centuries Shakuntala has been extolled and memorialized by the likes of Johann Wolfgang von Goethe, Friedrich and August Wilhelm Schlegel, Theophile Gautier, and Rabindranath Tagore. Though often included in anthologies of world literature, however, the history of the play in performance during this same period of time has gone both undocumented and unstudied. In an endeavor to fill this significant void in scholarship, “Searching for Shakuntala” is the first comprehensive study of the performance history of Kalidasa’s Abhijñānaśakuntala in Europe and India. It argues that Shakuntala has been a critical interlocutor for the emergence of modern theater practice, having been regularly featured on both European and Indian stages throughout the nineteenth and twentieth centuries. Moreover, it asserts that to appreciate the contributions that the play has made to modern theater history requires thinking through and against the biases and expectations of cultural authenticity that have burdened the play in both performance and reception. Perceived as a portrait of a particular moment in ancient Indian history, Shakuntala has long been encumbered by the obligation to portray either the authentic Other for an eager and curious foreign audience or the authentic Self for a native Indian audience reclaiming a national heritage. Such expectations, this project contends, overlook the play’s long history in between the diametric poles of East and West, obscuring the far more complicated, and more interesting facets of its lives onstage. As a performance history, “Searching for Shakuntala” endeavors to reconstruct historical productions by assembling reviews, photographs, programs, set drawings, costume materials, video recordings (when available), and other theatrical ephemera. Rather than beginning from the point of view of the text, each chapter is framed around a central production and asks how the cultural, historical, artistic, and political forces of the period in question can be discerned in this particular manifestation of Kalidasa’s play. Chapter 1 begins with William Poel and the Elizabethan Stage Society’s original practice Shakuntala from fin-de-siècle London; Chapter 2 heads across the channel to Paris and the symbolist Théâtre de L’Œuvre of Lugné-Poe and his experimentation with Sanskrit drama; Chapter 3 considers the representation of Shakuntala by a group known as the Brahmana Sabha at India’s First National Drama Festival in 1954; and Chapter 4 begins with an adaptation called Chhaya Shakuntala, or Shades of Shakuntala, as a way into thinking through the play on contemporary Indian stages. Taken together, the productions discussed in this dissertation make clear that the history of Shakuntala in performance is more than just documentation of the occasional production of an obscure work of ancient dramatic literature. It is also a study in the hegemony of intercultural exchange, the interplay between theatrical performance and identity formation, and the interwoven formal theatrical experimentation that took place through the performance of an Indian text during a period of theater history traditionally dominated by the West.

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Ahlborn, Matthias. "Pratijnayaugandharayana - Digitalisierte Textkonstitution, Übersetzung und Annotierung." Doctoral thesis, 2007. https://nbn-resolving.org/urn:nbn:de:bvb:20-opus-24082.

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Diese Dissertation enthält eine Edition und eine annotierte Übersetzung des dem Bhasa zugeschriebenen Sanskrit-Schauspiels "Pratijnayaugandharayana". Die Edition beruht auf zehn Manuskripten, von denen bisherige Ausgaben nur drei verwendet hatten. Um Zusammenhänge zwischen den Manuskripten sichtbar zu machen, und so deren jeweiligen Wert besser beurteilen zu können, werden quantitative Methoden verwendet. In diesem Zusammenhang wird die effektive Verwendung von EDV für die Veröffentlichung von Sanskrit-Schauspielen reflektiert. Die vorgestellte Herangehensweise ermöglichte auch die automatische Erstellung des als Anhang enthaltenen Index aller in dem Schauspiel vorkommenden Sanskrit- und Prakrit-Wortformen<br>This dissertation contains an edition and an annotated German translation of the Sanskrit play "Pratijnayaugandharayana". The edition is based on ten manuscripts, of which only three have been used so far in other editions. To make relations between the manuscripts visible, and therefore to be in a better position to evaluate their usefullness, a quantitative approach is adopted. In this connexion, the reasonable application of computing for publishing Sanskrit plays is discussed. The presented approach also provided also the possibility to generate an index of all Sanskrit and Prakrit word forms of the play

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Panday, Shobhana Devi. "A critical appraisal of Kalidasa's Abhijnanasakuntalam in the light of the rasa theory." Thesis, 1996. http://hdl.handle.net/10413/8678.

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Σεφεριάδη, Γεσθημανή. "Η Ποιητική του Αριστοτέλη και η Natyasastra του Bharata Muni". Thesis, 2014. http://hdl.handle.net/10889/7655.

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Σκοπός της παρούσας εργασίας είναι να συναναγνώσει δύο κείμενα της αρχαιότητας, την Ποιητική του Αριστοτέλη και τη Nāṭyaśāstra του Bharata Muni, δύο κείμενα με αποκλίνοντα χρονικά και γεωγραφικά όρια, με διαφορετικό θεματικό ορίζοντα και διαφορετική σκοποθεσία, τα οποία εντούτοις μοιράζονται το εξής: πρόκειται για τις δύο αρχαιότερες σωζόμενες πραγματείες για την τέχνη του θεάτρου, η πρώτη από τη σκοπιά της Δύσης και η δεύτερη από αυτή της Ανατολής.<br>The purpose of this master thesis is to study comparatively two texts of antiquity, the Poetics of Aristotle and the Nāṭyaśāstra of Bharata Muni, two treatises with divergent time and geographical limits, with different thematic horizon and different target, which though share the following: these are the two oldest surviving documents on the art of theatre, the first coming from the West, the second from the East.

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Books on the topic "Drama. Sanskrit drama Sanskrit"

1

Ranganath, S. Post independence Sanskrit drama. H. Venkataramaiah, 1994.

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Vijayakrishnan, K. Pūrṇapuruṣarthacandrodayam: Sanskrit allegorical drama. Sukr̥tīndra Oriental Research Institute, 2015.

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3

Lockwood, Michael. Metatheater and Sanskrit Drama. Tambaram Research Associates, 1994.

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4

Biswas, Bhagirathi. Sociology of Sanskrit drama. Indian Publishers' distributors, 1999.

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5

Sanskrit drama: Problems and perspectives. Ajanta Publications, 1985.

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6

Pati, Madhusūdana. Sanskrit drama, essays in revaluation. Amar Prakashan, 1991.

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7

E, Goodwin Robert. The playworld of Sanskrit drama. Motilal Banarsidass Publishers, 1998.

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8

Sinha, Biswajit. Sanskrit theatre. Raj Publications, 2005.

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9

Dange, Sadashiv Ambadas. Critiques on Sanskrit dramas. 2nd ed. Aryan Books International, 1994.

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10

V, Raghavan. Sanskrit drama its aesthetics and production. Sarada Raghavan, 1993.

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Book chapters on the topic "Drama. Sanskrit drama Sanskrit"

1

Dimitrova, Diana. "The “Indian” Character of Modern Hindi Drama: Neo-Sanskritic, Pro-Western Naturalistic, or Nativistic Dramas?" In Theology and Literature. Palgrave Macmillan US, 2006. http://dx.doi.org/10.1057/9781403982995_11.

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"Jīvānandanam—A Medico-Literary Drama." In Sanskrit and World Culture. De Gruyter, 1986. http://dx.doi.org/10.1515/9783112320945-107.

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3

Link, Hilde. "Zur Schreibweise der Tamil- und Sanskrit-Begriffe." In Indisches Drama. Dietrich Reimer Verlag, 2020. http://dx.doi.org/10.5771/9783496030362-16.

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"On losing and finding love: Conflict, obstacle and drama." In Classical Sanskrit Tragedy. I.B. Tauris, 2021. http://dx.doi.org/10.5040/9780755617883.ch-003.

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"Indian Religious Culture and Sanskrit Drama Arts." In Series on China’s Belt and Road Initiative. WORLD SCIENTIFIC, 2019. http://dx.doi.org/10.1142/9789813202962_0011.

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6

Austin, Christopher R. "A kāvya Casting for Pradyumna." In Pradyumna. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190054113.003.0008.

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The Pradyumnābhyudaya—a thirteenth-century Sanskrit play by King Ravivarman—is the focus of Chapter 7. This work, based directly on the Prabhāvatī episode of the late Harivaṃśa, appears to be the first Brahminical kāvya or courtly belles-lettristic work to make Pradyumna its protagonist. Of central importance is Ravivarman’s molding of the story into conformity with common standards and expectations for poetic expression in courtly writing. In particular it is argued that two conventions of the Sanskrit drama, the garbhāṅka or nested play, and the śleṣa or double-meaning verse form, become the means for an underscoring and sharpening the signature double love-and-war geste of Kṛṣṇa’s son. As such, the chapter argues that the recasting of the Prabhāvatī romance into belles-lettristic form, far from hijacking the figure of Pradyumna for new purposes, in fact powerfully restates the persisting appeal of the masculine sex-and-violence triumphalism fundamental to his mythic persona.

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Cavaliere, Stefania. "Religious Syncretism and Literary Innovation." In Text and Tradition in Early Modern North India. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199478866.003.0009.

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Stefania Cavaliere shows that the Vijñānagītā of Keshavdas is much more than a translation of an allegorical Sanskrit drama, the Prabodhacandrodaya of Krishnamishra. The allegorical battle between aspects of the mind in Krishnamishra’s text becomes in Keshavdas’s hands a platform for a much broader discussion of metaphysics, theology and religious aesthetics, incorporating such diverse influences as the Yogavāsiṣṭha, the Purāṇas, the Dharmaśāstras, and the Bhagavad Gītā. In this way the Vijñānagītā reads more like a scientific treatise (śāstra) than a work of allegorical poetry, and reflects Keshavdas’s erudition and innovation in weaving together strands of bhakti, Advaita Vedānta and rasa aesthetic theory.

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Devadevan, Manu V. "Knowing and Being". У Two Masterpieces of Kūṭiyāṭṭam. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199483594.003.0016.

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This essay, a highly original study of Kūṭiyāṭṭam as an historical phenomenon and developing art form, offers an ontology of performance in relation to a highly specific epistemology embedded in the Kūṭiyāṭṭam tradition. The author distinguishes Kūṭiyāṭṭam in general and Mantrāṅkam in particular from other performative traditions in South India on the basis of the distinctive truth-value that emerges on stage (in relation to other philosophical streams such as the Advaita). He also reviews the historical evidence on dating and proposes a new hypothesis about the historical moment when Kūṭiyāṭṭam as we know it took shape. He talks about the two manuals that were known from the early period, the Dhananjayadhvani and the Saṃvaraṇadhvani and outlines their impact on the performance of Sanskrit drama in Kerala.

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Jarow, E. H. Rick. "Meteorology and Metaphor." In The Cloud of Longing. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197566633.003.0008.

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Chapter seven explores the Meghadūta’s ability to depict figurative scenes that are simultaneously accurate in their description of the natural world. Nature is not seen as a backdrop to the human drama, but as an integral part of it. The dynamics of Kālidasa’s landscape are compared to the verses of William Blake and the landscapes of Henry David Thoreau and Ann Dillard. The “fulcrum of loka” (meaning both “place” and “people” in Sanskrit) shows just how multivalent the landscape of the Meghadūta is. Examples are given, as in the Cloud’s visit to the divine abode of Śiva, in which the trees are upraised arms, and the red twilight hue makes the Cloud (thundering as a drum) resemble the god’s red elephant hide drum.

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Costanzo, William V. "Comedy, History, and Culture." In When the World Laughs. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190924997.003.0005.

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How has comedy evolved around the globe from earliest times to today? Chapter 4 offers a chronology of comedy. Distinguishing among laughter, comedy, and humor, it finds evidence of humor in ancient texts and imagery, tracing the evolution of comic genres through classical Greek drama, Sanskrit poetry, early China, medieval Europe, and feudal Japan. The chronology continues with an account of popular festivals of laughter, comedic stage performances, and precursors of the comic novel, showing how they led to modern literary and cinematic forms as well as televised sitcoms and live standup. Motion pictures borrowed silent gags and witty wordplay from vaudeville, channeled the freewheeling energy of picaresque stories into episodic road movies, adapted the amatory impulses of Shakespeare’s romantic comedies to the screen, and turned the Carnivalesque spirit into scenes of cinematic mischief and mayhem.

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