Log in

Relevant bibliographies by topics / Sanskrit drama / Journal articles

To see the other types of publications on this topic, follow the link: Sanskrit drama.

Journal articles on the topic 'Sanskrit drama'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Sanskrit drama.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Dr., Debajyoti Jena. "Philosophical Thoughts as Reflected in Drama S of Kālidāsa." International Journal of Trend in Scientific Research and Development 2, no. 4 (2018): 1976–79. https://doi.org/10.31142/ijtsrd14541.

Full text

Abstract:

Mahakavi Kalidasa a luminous star in the galaxy of Sanskrit literature. As a poet as well as a Dramatist, he has not only written the prominent poems and famous dramas just for the amusement and happiness for the people of society, but he has reflected the socio political status, religious thoughts and spiritual approaches of the society as well. It is also noticed that when Sanatanadharma or Vaidikadharma once upon a time was in crises by the influence of Buddhadharma and Jainadharma in the soil of India, by the mean time, Ancient Scholar Vaidika i have made their efforts to establish and pro

APA, Harvard, Vancouver, ISO, and other styles

2

Dr. Mahavir Prasad Sahu. "A review of ‘Natyavallari’ in the form of sound metaphor." Knowledgeable Research A Multidisciplinary Journal 2, no. 02 (2023): 19–25. https://doi.org/10.57067/kr.v2i02.152.

Full text

Abstract:

Traigunayodbhavamatra loka-charitam nanarasam drishyate,Natyaam Bhinnarucherjanasya Bahudapyekam Samaradhanam.1Sanskrit literature is an interesting reflection of Indian thought stream and thought tradition. Sanskrit literature, which reached its peak in the 17th century, started taking new turns in terms of subject and form in the 18th and 19th centuries. By the first half of the 20th century, new genres of literature that had established their own identity infused new energy into the Sanskrit world. Audio-visual poetry is more interesting than audio-textual poetry. The symbol of this is the

APA, Harvard, Vancouver, ISO, and other styles

3

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Dr.Shylaja, S. "Scope of Sanskrit Studies in the Kerala Context." Kiraṇāvalī 16, no. 1-4 (2024): 55–66. https://doi.org/10.5281/zenodo.14633713.

Full text

Abstract:

This paper explores the scope of Sanskrit research within the Kerala context, highlighting its profound influence on Malayalam and the Dravidian linguistic environment. Kerala’s rich cultural tapestry, shaped by Aryan, Arabian, Portuguese, Jewish, Dutch, and British influences, has integrated Sanskrit deeply into its literary and linguistic fabric. Sanskrit’s impact is visible in Malayalam phonology, morphology, syntax, and semantics, as well as in the literary traditions of Kerala, including classical poetry and drama. The study examines challenges in teaching Sanskrit as a second

APA, Harvard, Vancouver, ISO, and other styles

6

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Nath, Durjoy. "Krishna Mishra’s Classical Sanskrit Drama “Prabodha Chandrodaya” Philosophical Resolution of Moral Barriers." Journal Of Creative Writing (ISSN-2410-6259) 8, no. 1 (2024): 55–64. http://dx.doi.org/10.70771/jocw.v8i1.89.

Full text

Abstract:

This study shows the moral barriers inside our minds and the solutions to overcome these obstacles. I have tried to find out from this doubt Prabodha Chandrodaya, one of the dramas of Sanskrit literature. The purpose of this study is to provide a clear and coherent explanation of Advaita, an important branch of Indian philosophy, which the playwright of the play has kept behind. From this, we will present a picture of how we can overcome moral barriers and other effects of the mind that consume our cognition. I have highlighted this issue in the study through a comparative and qualitative disc

APA, Harvard, Vancouver, ISO, and other styles

8

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

9

Dr. Mahavir Prasad Sahu and Dr. Kalpana Shringi. "Real disclosure of contemporary politics - "Vikramacharit Aakhyan"." Knowledgeable Research: A Multidisciplinary Journal 2, no. 10 (2024): 106–11. http://dx.doi.org/10.57067/1ahy8q92.

Full text

Abstract:

Prof. born in Rajgarh district of Madhya Pradesh. Radhavallabh Tripathi is the outgoing Chancellor of the Rashtriya Sanskrit Sansthan (New Delhi). The works written by him include Adi Kavi Valmiki: (1976), Lokdharmi Tradition of Sanskrit Poetry (1976, 1999), Poetics and Poetry (1987), Lectures on Drama (1992), Drama and World Theatre (1988), Drama Encyclopedia (Chaturshu Khandeshu, 1999), etc., critical and poetic works. The text is important. In the field of literature, his major works are Rotikalahari (poetry), Abhinavasuk Saptati (collection of stories), Prekshanam Saptakam (street plays),

APA, Harvard, Vancouver, ISO, and other styles

10

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Madaan, Vishu, and Prateek Agrawal. "Anuvaad." International Journal of Social Ecology and Sustainable Development 13, no. 1 (2022): 1–14. http://dx.doi.org/10.4018/ijsesd.295088.

Full text

Abstract:

Machine Translation is best alternative to traditional manual translation. The corpus of Sanskrit literature includes a rich tradition of philosophical and religious texts as well as poetry, music, drama, scientific, technical and other texts. Due to the modernization of tradition and languages, Sanskrit is not on everyone's lips. Translation makes it convenient for users to understand the unknown text. This paper presents a language Machine Translation System from Hindi to Sanskrit and Sanskrit to Hindi using a rule-based technique. We developed a machine translation tool 'anuvaad' which tran

APA, Harvard, Vancouver, ISO, and other styles

12

Lidova, Natalia R. "Genre Typology of Drama in European and Sanskrit Literature." Studia Litterarum 9, no. 1 (2024): 10–29. http://dx.doi.org/10.22455/2500-4247-2024-9-1-10-29.

Full text

Abstract:

The article examines the notion of drama as a genre category in European and ancient Indian theatrical theory. The analysis of ancient texts, foremost the treatise of the Nāṭyaśāstra, which can be considered the most authoritative primary source for the study of classical Indian poetics, forms the basis of the research. This paper identifies Sanskrit analogues of such fundamental concepts of Western literary theory as “drama,” “genre,” “performance,” “scenicism,” “literariness,” etc. The closest analogical to European definitions of drama and genre Sanskrit notions are investigated in depth. T

APA, Harvard, Vancouver, ISO, and other styles

13

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Baishy, Lalta Prasad. "Współczesna sytuacja sanskrytu." Gdańskie Studia Azji Wschodniej, no. 24 (December 2023): 277–82. http://dx.doi.org/10.4467/23538724gs.23.035.19031.

Full text

Abstract:

The contemporary situation of Sanskrit This article presents the current situation of Sanskrit and the importance of Sanskrit in India. How is Sanskrit used in daily life in India and what is its role in the sub-continent’s religions? There are some television channels in Sanskrit and in schools Sanskrit is a mandatory subject. It is one of the twenty-three official languages in India. Sanskrit is not a dead language because there are some villages where people use it in daily life, for example in school, university, worship, and especially on traditional occasions. It has a role like Greek or

APA, Harvard, Vancouver, ISO, and other styles

15

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

16

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

17

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Laxman, Majhi. "Exploring the Timeless Artistry: The Essential Elements of Sanskrit Drama." Brāhmī, International Multidisciplinary Research Journal (Peer Reviewed, Referred & Open Access Journal) 01, no. 01 (2024): 19–24. https://doi.org/10.5281/zenodo.14567899.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Zarna, Tejendrabhai Pandya, and Alpesh Upadhyay Dr. "ORIGIN AND HISTORY OF DRAMA IN INDIA." INTERNATIONAL EDUCATIONAL JOURNAL OF SCIENCE AND ENGINEERING - IEJSE 7, no. 3 (2024): 25–30. https://doi.org/10.5281/zenodo.15607522.

Full text

Abstract:

This paper explores the origin, development, and contemporary significance of drama in India, tracing its evolution from ancient ritualistic performances to modern theatrical expressions. The study examines the influence of Vedic rituals, Sanskrit drama, and the Bhakti and Sufi traditions on Indian theatre, as well as the impact of colonialism, regionalism, and globalization on its growth and adaptation. Through an analysis of key historical periods, including the Classical, Medieval, Mughal, and post-Independence eras, the paper highlights the fusion of Indian and foreign influences, the emer

APA, Harvard, Vancouver, ISO, and other styles

20

Sobhitha, Karandagolle. "භාසගේ ස්වප්නවාසවදත්ත නාට්‍යෙය් දක්නට ලැබෙන උපදේශාත්මක වැකි පිළිබඳ විමර්ශනාත්මක අධ්‍යයනයක් [An Investigative Study of the Didactic Phrases Depicted in Svapnavāsavadatta of Bhāsa]". Pravacana 15, № 2 (2025): 87–97. https://doi.org/10.4038/p.v15i2.19.

Full text

Abstract:

The Svapnavāsavadatta, attributed to the ancient Indian playwright Bhāsa, is a monumental work in Sanskrit drama renowned for its narrative depth and artistic sophistication. This study delves into the didactic phrases interwoven throughout the play, aiming to uncover their pedagogical significance and cultural resonance. By examining these phrases, the research highlights how Bhāsa integrates moral, philosophical, and practical wisdom into the dialogue, transcending mere entertainment to serve as a vehicle for ethical instruction and societal reflection. The investigation identifies key didac

APA, Harvard, Vancouver, ISO, and other styles

21

Kaul, Ratan. "A glimpse of Indology: Romance in Indian classic Sanskrit poetry and drama." International Journal of Humanities and Education Research 6, no. 2 (2024): 129–31. http://dx.doi.org/10.33545/26649799.2024.v6.i2b.102.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Ryoo, Hyun Jung. "A Brief View on the Plot of Sanskrit Drama : Theories in the Nāṭyaśāstra with the application on the Nāgānanda". Korean Institute for Buddhist Studies 62 (28 лютого 2025): 65–92. https://doi.org/10.34275/kibs.2025.62.065.

Full text

Abstract:

This paper examines the concept of itivṛtta in the ancient Indian treatise on dramaturgy, the Nāṭyaśāstra (NŚ), focusing on its meaning, components, and application in actual dramatic works. Itivṛtta, a theory that addresses the narrative of a play through the modes of action and psychological changes of characters, encompasses not only the constituent elements of the plot used by playwrights to effectively convey the theme of the play, but also the organic relationships that connect these elements. Related theories to itivṛtta include avasthā, which demonstrates the developmental stages of a

APA, Harvard, Vancouver, ISO, and other styles

23

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Bhatta, Panduranga Charanbailu. "Literary Creation: Insights from Sanskrit Literary Critics." European Journal of Multidisciplinary Studies 6, no. 1 (2017): 261. http://dx.doi.org/10.26417/ejms.v6i1.p261-268.

Full text

Abstract:

All aspects of literary creation, from creation to expression, have been recorded with perceptive insights and in minute detail by the renowned Sanskrit literary critics. The main topics dealt with by these critics are: the definition and classification of literary creation, viz., poetry, prose, drama etc; the figures of speech (alamkaras), the sentiments (rasas), literary merits and defects (gunas and doshas), style (ritis), and purpose (prayojana). They discuss important ingredients of literary creation such as creative talent (pratibha), erudition (vyutpatti) and practice (abhyasa), the pro

APA, Harvard, Vancouver, ISO, and other styles

25

M, Kavitha. "Nachinarkiniyar History and Textual Ability." International Research Journal of Tamil 4, S-8 (2022): 233–38. http://dx.doi.org/10.34256/irjt22s834.

Full text

Abstract:

Tamil language and literature have flourished with speeches composed by speechwriters. Are greatly aiding researchers who think innovatively. Texts serve as a bridge between linguistic research and e-literary criticism. The texts convey how the Tamil language has changed over time, as well as the living conditions, political changes and customs of the Tamil people. This article explores the history and textual ability of Nachinarkiniyar. Nachinarkiniyar was a knowledgeable and knowledgeable man of various arts, writing semantics for songs, and also possessing the art of religious ideas, music,

APA, Harvard, Vancouver, ISO, and other styles

26

Nuckolls, Charles W. "Causal Thinking in Sakuntala: A Schema-Theoretic Approach to a Classical Sanskrit Drama." Philosophy East and West 37, no. 3 (1987): 286. http://dx.doi.org/10.2307/1398520.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Sarkar, Prodip Kumar. "Reimagining femininity in classical Sanskrit drama: A study of women’s representation in Bhavabhuti’s works." International Journal of Social Science and Education Research 7, no. 1 (2025): 563–66. https://doi.org/10.33545/26649845.2025.v7.i1g.247.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Dimitrova, Zornitsa. "Aesthetic Codification of the ‘Unsavoury’ from Nāṭyaśāstra and the Poetics to Postdramatic Theatre". New Theatre Quarterly 31, № 4 (2015): 299–311. http://dx.doi.org/10.1017/s0266464x15000639.

Full text

Abstract:

In examining the notion of entelechy – defined by Aristotle as the ‘final cause’ in drama – Zornitsa Dimitrova shows that depictions of ‘unsavoury’ content are only justified insofar as they are part of larger networks of aesthetic codification. The unsavoury cannot be an end in itself; neither can it function as an aesthetic category in its own right. Rather, it is a means related to pathos, or suffering, in Greek tragedy and bībhatsa, the ‘odious sentiment’ of the Sanskrit drama. Within such networks of codification, the purpose of the unsavoury is to carry forward the drama to an emotionall

APA, Harvard, Vancouver, ISO, and other styles

29

Cappello, Giuseppe. "Sufi-Vedāntic Interactions and Literary Interconnections in the Gulzār-i ḥāl by Banwālīdās". Eurasian Studies 18, № 2 (2021): 255–98. http://dx.doi.org/10.1163/24685623-12340095.

Full text

Abstract:

Abstract This paper focuses on the Gulzār-i ḥāl by Banwālīdās (1662–3), a Persian adaptation of the Sanskrit allegorical drama Prabodhacandrodaya composed by Kṛṣṇamiśra (not long after 1065). It is also hypothesised that Banwālīdās may have used a Braj Bhāṣā version of the same text – by the poet Nanddās entitled Prabodhacandrodaya Nāṭaka (c. 1570) –, as intermediary with the original Sanskrit. Regardless of the source that our author used to realise his Gulzār-i ḥāl, the filter used to adapt Advaitic elements to the Islamic mystical context was the Waḥdat al-Wujūd (“Unity of Being”), or the t

APA, Harvard, Vancouver, ISO, and other styles

30

Srika, M. "A Critical Analysis on “Revolution 2020” - An Amalgam of Socio- Political Commercialization World Combined with Love Triangle." SMART MOVES JOURNAL IJELLH 7, no. 10 (2019): 6. http://dx.doi.org/10.24113/ijellh.v7i10.10255.

Full text

Abstract:

Literature is considered to be an art form or writing that have Artistic or Intellectual value. Literature is a group of works produced by oral and written form. Literature shows the style of Human Expression. The word literature was derived from the Latin root word ‘Litertura / Litteratura’ which means “Letter or Handwriting”. Literature is culturally relative defined. Literature can be grouped through their Languages, Historical Period, Origin, Genre and Subject. The kinds of literature are Poems, Novels, Drama, Short Story and Prose. Fiction and Non-Fiction are their major classification. S

APA, Harvard, Vancouver, ISO, and other styles

31

Raksamani, Kusuma. "The Validity of the Rasa Literary Concept: An Approach to the Didactic Tale of PHRA Chaisurjya." MANUSYA 9, no. 3 (2006): 67–72. http://dx.doi.org/10.1163/26659077-00903004.

Full text

Abstract:

The rasa (emotive aesthetics), one of the major theories of Sanskrit literary criticism, has been expounded and evaluated in many scholarly studies by Indian and other Sanskritists. Some of them maintain that since the rasa deals with the universalized human emotions, it has validity not only for Indian but for other literatures as well. The rasa can be applied to any kind of emotive poetry such as lyric, epic, drama and satire. However, in Thai literature an emotive definition of poetry encompasses a great variety of works. A question is then raised in this paper about whether the rasa can be

APA, Harvard, Vancouver, ISO, and other styles

32

Acri, Andrea. "Performance as Religious Observance in Some Śaiva Ascetic Traditions from South and Southeast Asia." Cracow Indological Studies 20, no. 1 (2018): 1–30. http://dx.doi.org/10.12797/cis.20.2018.01.03.

Full text

Abstract:

My essay synthesizes, and elaborates on, previous research on the overlaps between performative arts and ascetic traditions of the Śaiva Atimārga in South and Southeast Asia. My analysis focuses mainly on textual data from Sanskrit and Old Javanese literature from the 4th to the 15th centuries, with contributions from modern and contemporary ethnography of Java and Bali. Here I will argue that categories of Śaiva practitioners who combined dance, recitation, and drama in both areas may derive from a shared tantric fund, and that those low-status agents characterized by antinomian behaviours we

APA, Harvard, Vancouver, ISO, and other styles

33

Rajendran, Chettiarthodi. "Celebrating Violence." Cracow Indological Studies 26, no. 2 (2024): 205–18. http://dx.doi.org/10.12797/cis.26.2024.02.08.

Full text

Abstract:

This paper is an attempt to probe into depiction of violence and death in the classical Sanskrit drama, especially in its avatar as Kūṭiyāṭṭam, a living performative tradition related to the temple theatre of Kerala. Stage depictions of terrible scenes of violence, and death as the culmination of it, will be examined here in the context of semiotics by including in its ramifications costume, colour scheme, tonal features and acting. The paper will first review the attitude of the Nāṭyaśāstra to presenting darker side of life on the stage and then turn to issues related to portrayal of violence

APA, Harvard, Vancouver, ISO, and other styles

34

Zysk, Kenneth. "From symposion to goṣṭhī: The Adaptation of a Greek Social Custom in Ancient India". Studia Orientalia Electronica 9, № 1 (2021): 83–111. http://dx.doi.org/10.23993/store.102235.

Full text

Abstract:

The symposion, a male social gathering that began in ancient Greece, was a social institution by and for men, hence a type of men’s society as we might understand it in modern parlance. Its manifestation on the Indian subcontinent has to date not been fully explored. In its original form, the symposion consisted of three main elements: alcohol, sex, and intellectual pursuits in the form of literature and philosophy, commonly understood by the popular phrase “wine, women, and song”. These sympotic elements find their equivalents in a wide range of Sanskrit literature, which include medicine (Ā

APA, Harvard, Vancouver, ISO, and other styles

35

Li, Shenghai. "Between Love, Renunciation, and Compassionate Heroism: Reading Sanskrit Buddhist Literature through the Prism of Disgust." Religions 11, no. 9 (2020): 471. http://dx.doi.org/10.3390/rel11090471.

Full text

Abstract:

Disgust occupies a particular space in Buddhism where repulsive aspects of the human body are visualized and reflected upon in contemplative practices. The Indian tradition of aesthetics also recognizes disgust as one of the basic human emotions that can be transformed into an aestheticized form, which is experienced when one enjoys drama and poetry. Buddhist literature offers a particularly fertile ground for both religious and literary ideas to manifest, unravel, and entangle in a narrative setting. It is in this context that we find elements of disgust being incorporated into two types of B

APA, Harvard, Vancouver, ISO, and other styles

36

Khan, Shahab Yar. "Shakespeare i Orijent / Shakespeare and the Orient." Context: Journal of Interdisciplinary Studies 3, no. 2 (2022): 77–83. http://dx.doi.org/10.55425/23036966.2016.3.2.77.

Full text

Abstract:

The history of drama in Asia is as old as the history of the world itself. In India however, according to the popular belief, the tradition of drama dates back to the prehistoric times. Due to this unique approach towards drama, that makes it a valuable divine gift for humanity, the esoteric significance of this art form has never seen decline in the cultural history of India. Drama, thus, acquires in Indian context a religious significance and represents as an art form the union of the celestial and the terrestrial. Drama (in Sanskrit Natak), in the Indian Subcontinent, has distinctive charac

APA, Harvard, Vancouver, ISO, and other styles

37

Babu, Shyam. "Habib Tanvir’s Experiment with Folk Idioms: An Approach toward an Inclusive Theatre." International Journal of Literature Studies 3, no. 3 (2023): 01–08. http://dx.doi.org/10.32996/ijts.2023.3.3.1.

Full text

Abstract:

Modern Indian theatre has a long and sustained tradition. It got invigorated and exposed to the western conventions of drama and performance in the post-independence scenario. It is therefore, a conglomerate of three strands: Sanskrit, folk and western dramaturgy. All these strands collide, intersect and sometimes blend with each other with a fine balance. Folk theatres and traditions of regional bhasha drama thus are key constituents of Modern theatre, which is rooted in the local cultures of common people’s belief systems and language. Folk theatre in India and modernity thus are integrated

APA, Harvard, Vancouver, ISO, and other styles

38

Sanathanan, Snehal P., and Vinod Balakrishnan. "Before the political cartoonist, there was the Vidusaka." European Journal of Humour Research 9, no. 4 (2021): 91–109. http://dx.doi.org/10.7592/ejhr2021.9.4.571.

Full text

Abstract:

Political cartooning was one among the many cultural products that colonial rule introduced in India. This British legacy has been used to produce narratives about the nature and history of Indian cartooning. However, these narratives have, invariably, overlooked the distinctly Indian cultural ethos as well as the Indian satirical tradition. The paper proposes an alternative model by positing that in the Indian satirical tradition, the Vidusaka – the comic figure in Sanskrit drama - has been an antecedent to the political cartoonist in terms of the social and political role as well as the natu

APA, Harvard, Vancouver, ISO, and other styles

39

Glushkova, I. P. "Bharata’s bibhatsa-rasa, Shudraka’s Mrcchakatika and Christian missionaries’ disgust." Orientalistica 3, no. 4 (2020): 968–84. http://dx.doi.org/10.31696/2618-7043-2020-3-4-968-984.

Full text

Abstract:

The ancient Indian aesthetic theory identifies bībhatsa, “disgust / aversion”, as one of the nine sensory states that determine the mood of dramatic and poetic works and by means of visual / verbal techniques affect a spectator/a reader. This term from Bharata’s Nāṭyaśāstra was adopted by Christian missions in India and used as an argument against the cultural traditions of the conquered subcontinent. The translation into Marathi (1864) of The Little Clay Cart, a Sanskrit drama by Shudraka, became the object of violent public controversy initiated by Rev. Henry Ballantine who found the image o

APA, Harvard, Vancouver, ISO, and other styles

40

Misra, Dr Manisha. "The Adverse Impact of the Forbidden Scenes in the Present Performing Arts." Praxis International Journal of Social Science and Literature 6, no. 5 (2023): 32–35. http://dx.doi.org/10.51879/pijssl/060504.

Full text

Abstract:

From ancient time drama/performing art has remained as the major source of entertainment. One of the renowned text on dramaturgy is the Natyasastra of Bharatamuni. It is an analytical text of dramatic performance. Another rhetorician Viswanatha Kaviraja in his masterpiece the Sahityadarpana defines the schools of dramaturgy. In today’s society visual entertainment has undergone a sea change. Exposure, violence and the use of fairsex for entertainment is directly affecting the youths. Ethical values and humane qualities are declining from our society. There is a censor board which controls and

APA, Harvard, Vancouver, ISO, and other styles

41

Mohan, Kumar. "IMPACT OF BRITISH IMPERIALISM IN INDIAN SOCIETY- A STUDY." Shanlax International Journal of Arts, Science and Humanities, S2 (February 15, 2019): 214–22. https://doi.org/10.5281/zenodo.2650825.

Full text

Abstract:

<em>Indian society underwent many changes after the British came to India. In the 19th century, certain social practices like female infanticide, child marriage, sati, polygamy and a rigid caste system became more prevalent. These practices were against human dignity and values. Women were discriminated against at all stages of life and were the disadvantaged section of the society. They did not have access to any development opportunities to improve their status. Education was limited to a handful of men belonging to the upper castes. Brahmins had access to the Vedas which were written in San

APA, Harvard, Vancouver, ISO, and other styles

42

Li, Na. "Multimedia Drama Imaging Technology Based on Big Data Information System." Mobile Information Systems 2022 (July 31, 2022): 1–15. http://dx.doi.org/10.1155/2022/4765619.

Full text

Abstract:

Opera is a unique comprehensive stage art form in China. As a traditional Chinese drama style, it is known as the three ancient drama cultures in the world together with the tragicomedy of ancient Greece and the Sanskrit drama of India. However, in the trend of the new era, Chinese opera is facing a severe existential crisis. How to innovate the opera and make people fall in love with the opera again is a problem worthy of research and analysis at present. This study takes the research of multimedia opera image technology as the object, aims to improve the perception and experience of opera, a

APA, Harvard, Vancouver, ISO, and other styles

43

Brown, John Russell. "Shakespeare, the Natyasastra, and Discovering Rasa for Performance." New Theatre Quarterly 21, no. 1 (2005): 3–12. http://dx.doi.org/10.1017/s0266464x04000284.

Full text

Abstract:

Recognizing analogies between the assumptions about theatricality found in the classic Sanskrit treatise on acting, the Natyasastra, and those of the Elizabethan theatre, John Russell Brown suggests that the concept of rasa as the determining emotion of a performance is similar to that of the Elizabethan ‘humour’, or prevailing passion, as defined by Ben Jonson. Here he describes his work exploring what happens when actors draw on their own life experiences to imagine and assume the basic rasa of the character they are going to present, based on experiments in London with New Fortune Theatre;

APA, Harvard, Vancouver, ISO, and other styles

44

Saini, Naresh Singh. "Role of Shakuntala in Abhijnan Shakuntalam written by great poet Kalidas in Sanskrit literature." RESEARCH REVIEW International Journal of Multidisciplinary 9, no. 5 (2024): 301–5. http://dx.doi.org/10.31305/rrijm.2024.v09.n05.036.

Full text

Abstract:

This gradual development of Shakuntala's character as a heroine is very natural. At the end of the play, the sacrifice of life was completed with the union of co-wife, good husband and good man. This is the ultimate ideal of human life. At the center of achieving this ultimate ideal, the character of ideal heroine Shakuntala is present everywhere. All the events have happened around this. In fact, the portrayal of Shakuntala is a picture of extremely joyful sweetness. Shakuntala's simplicity is mature, serious and permanent in crime, sorrow, knowledge, patience and forgiveness. We get a glimps

APA, Harvard, Vancouver, ISO, and other styles

45

Sharma, Ansh. "The Evolution of Man: Studying Sri Aurobindo's Dramatic Ouevre." SMART MOVES JOURNAL IJELLH 8, no. 9 (2020): 39–53. http://dx.doi.org/10.24113/ijellh.v8i9.10752.

Full text

Abstract:

Sri Aurobindo wrote around eleven verse plays, much in the tradition of the Elizabethan poetic plays. Many similarities and equally numbered distinctions may be traced midst the dramatic output of William Shakespeare and Sri Aurobindo. However, of the eleven plays only five plays are complete, in that they have a five act structure, namely- Viziers of Bassora, Eric, Rodogune, Perseus: The Deliverer and Vasavadutta. The genealogy of all these plays may be traced to the legends or myths, of the various ancient cultures which populated the world and shaped its history. Irrespective of their diffe

APA, Harvard, Vancouver, ISO, and other styles

46

Betageri, Ankur. "The Breaking of Shakuntala." Indian Literature 62, no. 5 (2018): 177–84. https://doi.org/10.5281/zenodo.6806888.

Full text

Abstract:

Kalidasa’s Abhijnanashakuntalam has been traditionally interpreted as a play of acceptance of life’s vicissitudes which traces the transformation of Duhsanta’s carnal love for Shakuntala into a mature and spiritual love. The play’s title, “The Recognition of Shakuntala,” has been understood to refer to the literal recognition of Shakuntala by her husband Duhsanta who has forgotten her due to a curse by the short-tempered sage Durvasa. But what exactly does the “recognition” in the play signify—is Shakuntala recognized for what she is, or is

APA, Harvard, Vancouver, ISO, and other styles

47

Vijayan, K. Sajith, and Karin Bindu. "Kerala´s Ancient Mizhavu Drum: Transformations and Sustainability." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 8 (December 9, 2021): 27–38. http://dx.doi.org/10.30819/aemr.8-4.

Full text

Abstract:

The Kerala state in India offers a huge assemblage of various percussion eccentricities. Each percussion instrument sustains and preserves its own attributes: some drums accompany visual arts, others create a vibrant world of percussion music, and a few maintain both attributes. Almost all instruments are related to ceremonial pursuance and worship customs. Mizhavu is a single-headed drum from Kerala that employs these kinds of ceremonial pursuance. The purpose of the instrument, which had also been used in temples in Tamil Nadu, is to accompany the Kūṭiyāṭṭam and Kuttu performances in the gre

APA, Harvard, Vancouver, ISO, and other styles

48

Chaudhuri, Sukanta. "Shakespeare Comes to Bengal." Multicultural Shakespeare: Translation, Appropriation and Performance 27, no. 42 (2023): 31–46. http://dx.doi.org/10.18778/2083-8530.27.03.

Full text

Abstract:

India has the longest engagement with Shakespeare of any non-Western country. In the eastern Indian region of Bengal, contact with Shakespeare began in the eighteenth century. His plays were read and acted in newly established English schools, and performed professionally in new English theatres. A paradigm shift came with the foundation of the Hindu College in Calcutta in 1817. Shakespeare featured largely in this new ‘English education’, taught first by Englishmen and, from the start of the twentieth century, by a distinguished line of Indian scholars. Simultaneously, the Shakespearean model

APA, Harvard, Vancouver, ISO, and other styles

49

Rafique, Hina. "Dramaturgical Analysis: Play With in Play as a Theatrical Technique in Mahesh Dattani‟s Play Where Did I Leave My." Journal of English Language, Literature and Education 1, no. 01 (2019): 51–68. http://dx.doi.org/10.54692/jelle.2019.010138.

Full text

Abstract:

This research study is an attempt to analyze the play Where did I leave my Purdah by an Indian playwright Mahesh Dattani. Primarily, this research study focuses upon a discussion of the employment of the theatrical technique i.e. Play Within Play within the structure of the play by Dattani. Ervin Goffman‟s (1922-1982) notion of dramaturgical analysis (grounded on his social analysis) has been taken as a theoretical framework to reinforce the proposition that performance of the actors on stage resemble their actual lives. Contextually, the protagonist‟s creed to perform the role of Shakuntala,

APA, Harvard, Vancouver, ISO, and other styles

50

Komilova, Sh.T. "FEATURES OF THE GENRE OF CHINESE DRAMA IN ANTIQUITY." Oriental Renaissance: Innovative, educational, natural and social sciences 2, no. 25 (2022): 336–42. https://doi.org/10.5281/zenodo.7394949.

Full text

Abstract:

<em>This article examines the importance of drama in the Chinese  literatures, and the periods and features of development of drama in the world literature. It describes the emergence and nature of this genre, as well as the works of playwrights, shows the influence of drama in the progress of literature and performance art. The  contemporary theater, themes and problems arisen on the stage have been discussed in the article.</em> <em>В данной статье рассматривается значение драмы в китайской литературе, а также периоды и особенности развития драмы в мировой литературе. В ней описыва

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!