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Journal articles on the topic 'Sanskrit drama'
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Meenatchisundram, Letchumi. "Drama traditions of the Sanskrit." Journal of Indian Studies 5, no. 1 (June 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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Raghavan, Sujatha. "ALANKARAS IN RATNAVALI." International Journal of Research -GRANTHAALAYAH 4, no. 10 (October 31, 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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Dr. Mahavir Prasad Sahu and Dr. Kalpana Shringi. "Real disclosure of contemporary politics - "Vikramacharit Aakhyan"." Knowledgeable Research: A Multidisciplinary Journal 2, no. 10 (May 28, 2024): 106–11. http://dx.doi.org/10.57067/1ahy8q92.
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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), Karuna (short novels), Anyachya (novel), Vikramcharitam (narratives). Due to your vast work of excellence, you have been honoured with many famous awards. Your composition 'Vikramcharitam' is a narrative divided into nine chapters, which, though written in mythological style, is a depiction of the political issues of the modern era through its subject matter. And it appears to express social problems.
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Bindu, Karin. "Miḻāvu – göttliches Perkussionsinstrument im südindischen Sanskrit-Drama Kūṭiyāṭṭam." Anthropos 111, no. 2 (2016): 395–414. http://dx.doi.org/10.5771/0257-9774-2016-2-395.
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Madaan, Vishu, and Prateek Agrawal. "Anuvaad." International Journal of Social Ecology and Sustainable Development 13, no. 1 (January 2022): 1–14. http://dx.doi.org/10.4018/ijsesd.295088.
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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 translates Sanskrit prose text into Hindi & vice versa. We also developed bi-lingual corpora to deal with Sanskrit and Hindi grammar rules and text applied rule based method to perform the translation. The experimental results on different 110 examples show that the proposed anuvaad tool achieves overall 93% accuracy for both types of translations. The objective of our work is to ensure confidentiality and multilingual support, which can be tedious and time consuming in case of manual translation.
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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.
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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. They are primarely nāṭya and prayoga — two terms used to define various performative aspects of the play. Another notion studied in the paper is rūpa, which originally stood for “scenario” and, later on, for textual and literary format of the staged play. Due to its universality, the same term functioned as the general definition of ten “exemplary” spectacular forms. Finally, the category of vṛtti is discussed, employed in the Nāṭyaśāstra for the characterization of stylistic features of early mysterial performances and, later on, of classical Sanskrit plays. The scope of the paper does not limit itself to bringing to light and discussing these various notions. The ultimate goal is to highlight the differences between Eastern and Western poetological systems and to point out fundamental issues arising from the non-critical use of European terminology when interpreting and investigating ancient Indian aesthetics.
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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 (October 1986): 880. http://dx.doi.org/10.2307/603609.
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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.
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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 Latin have in European society. India has a special day celebrating Sanskrit, and a special week for Sanskrit. People have started to learn Sanskrit in German schools and in US schools. NASA also uses Sanskrit. It is possible in the future that computers will work in Sanskrit. Sanskrit is the language in which the Vedas, Upanishads, Puranas, and texts on ethics are written. It has been a language used in India for a very long time. Sanskrit is a classical and historical language of India. The corpus of Sanskrit literature encompasses a rich tradition of poetry and drama as well as scientific, technical, philosophical, and Hindu religious texts. The importance of Sanskrit is quite evident from its all-India scope. It goes without saying that it is the basis of most of the modern Indian languages. I give several opinions of Sanskrit of some of the greatest orientalists that the world has ever produced; I show the consensus of the opinions of men like Professor Max Müller, Veer Savarkar, Rajendra Prasad, and Mahatma Gandhi. These opinions show the cultural importance of Sanskrit in the life of India as the only language that can culturally integrate the entire country and the entire Hindu society.
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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 (August 20, 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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Johnson, W. J. "Playing Around with Śakuntalā: Translating Sanskrit Drama for Performance." Asian Literature and Translation 1, no. 2 (February 15, 2013): 1. http://dx.doi.org/10.18573/j.2013.10200.
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Figueroa Castro, Óscar. "Persuasión y mito en los orígenes del drama sánscrito. A propósito del primer libro del Nāṭyaśāstra." HABIS, no. 45 (2014): 151–65. http://dx.doi.org/10.12795/pixelbit.2014.i45.08.
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Bhatta, Panduranga Charanbailu. "Literary Creation: Insights from Sanskrit Literary Critics." European Journal of Multidisciplinary Studies 6, no. 1 (June 10, 2017): 261. http://dx.doi.org/10.26417/ejms.v6i1.p261-268.
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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 problem of coincidence (samvada), inexhaustible resources, etc. A great literary creation is one that has great imageries, natural descriptions, exquisite miniatures, precious maxims and keen observations of men and matter, besides revealing deep understanding of human character. It exhibits precise phrasing, proportion and restraint, delicacy, sensitiveness, and above all, a profound suggestiveness. Sanskrit literary critics’ views on the relative importance of word and sense in literary creation, their concept of poetry which has spontaneous expression of a deeply felt emotion as its essence, their appeal to make new literary creation, their views on what is essential for literary creation-all these are very valuable contributions towards literary creation. The main purpose of this paper is to help budding literary creators in any language irrespective of time and place by providing new insights.
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M, Kavitha. "Nachinarkiniyar History and Textual Ability." International Research Journal of Tamil 4, S-8 (July 21, 2022): 233–38. http://dx.doi.org/10.34256/irjt22s834.
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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, drama, etc., which are included in the book. He is well versed in grammar, literature, dictionary, epic and puranam in Tamil. He is well versed in astrology, medicine, architecture, and crops. Nachinarkiniyar, who has written for Tamil grammar books, is well versed in the Vedic and phylogenetic theory of Sanskrit and is a university-oriented scholar of Tamil, Sanskrit scholarship, religious knowledge, land book knowledge, life and biology. This article explores the history and textual ability of Nachinarkiniyar.
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Nuckolls, Charles W. "Causal Thinking in Sakuntala: A Schema-Theoretic Approach to a Classical Sanskrit Drama." Philosophy East and West 37, no. 3 (July 1987): 286. http://dx.doi.org/10.2307/1398520.
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Dimitrova, Zornitsa. "Aesthetic Codification of the ‘Unsavoury’ from Nāṭyaśāstra and the Poetics to Postdramatic Theatre." New Theatre Quarterly 31, no. 4 (October 9, 2015): 299–311. http://dx.doi.org/10.1017/s0266464x15000639.
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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 emotionally uplifting end: katharsis in the Poetics and ananda in Nāṭyaśāstra. This purposiveness – already visible in the entelechial nature of the dramatic plot – relates to a concept of mimesis implicitly understood as a term actional and interactionist in character. But only with the emergence of postdramatic theatre and the dissolution of plot does the unsavoury begin to function as an aesthetic category in its own right. Zornitsa Dimitrova is a doctoral graduate of Westfälische Wilhelms-Universität Münster and holds degrees in Indology, Philosophy, and English Literature from the Universities of Sofia and Freiburg. Her research interests include performance and ritual studies, dramatic theory, and mimesis.
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Cappello, Giuseppe. "Sufi-Vedāntic Interactions and Literary Interconnections in the Gulzār-i ḥāl by Banwālīdās." Eurasian Studies 18, no. 2 (March 26, 2021): 255–98. http://dx.doi.org/10.1163/24685623-12340095.
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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 tradition of mysticism that was heavily inspiring Sufi traditions of South Asia at that time. Moreover, a codicological analysis of the Gulzār-i ḥāl’s manuscript tradition has brought to light that both Hindu and Muslim readership received the text. In this paper, I will show that the interpretative engagement of Banwālīdās carried on a tradition of philosophical studies that did not consider Sufi and Vedāntic metaphysics as separated entities but as elements that – in dialogue with each other – searched for a common answer to the ultimate truth.
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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 (October 31, 2019): 6. http://dx.doi.org/10.24113/ijellh.v7i10.10255.
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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. Some types of literature are Greek literature, Latin literature, German literature, African literature, Spanish literature, French literature, Indian literature, Irish literature and surplus. In this vast division, the researcher has picked out Indian English Literature. Indian literature is the literature used in Indian Subcontinent. The earliest Indian literary works were transmitted orally. The Sanskrit oral literature begins with the gatherings of sacred hymns called ‘Rig Veda’ in the period between 1500 - 1200 B.C. The classical Sanskrit literature was developed slowly in the earlier centuries of the first millennium. Kannada appeared in 9th century and Telugu in 11th century. Then, Marathi, Odiya and Bengali literatures appeared later. In the early 20th century, Hindi, Persian and Urdu literature begins to appear.
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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.
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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 applied to a Thai poem of didactic nature. Phra Chaisuriya, a versified tale by Sunthon Phu, is selected as an example of study.
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Acri, Andrea. "Performance as Religious Observance in Some Śaiva Ascetic Traditions from South and Southeast Asia." Cracow Indological Studies 20, no. 1 (September 30, 2018): 1–30. http://dx.doi.org/10.12797/cis.20.2018.01.03.
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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 were not only driven by ideals of individual salvation or quest for powers, but also contributed to their local social milieus (i.e. as ‘folk’ entertainers) and ritual economies (i.e., as performers attached to temples and royal palaces).
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Zysk, Kenneth. "From symposion to goṣṭhī: The Adaptation of a Greek Social Custom in Ancient India." Studia Orientalia Electronica 9, no. 1 (September 12, 2021): 83–111. http://dx.doi.org/10.23993/store.102235.
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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 (Āyurveda), eroticism (Kāmaśāstra), polity (Arthaśāstra), epics, and rhetoric (Alaṃkāraśāstra), as expressed in the Carakasaṃhitā, the Kāmasūtra, the Arthaśāstra, the Mahābhārata and Rāmāyaṇa, and the Kāvyamīmāṃsā. The literary evidence indicates that the three sympotic elements came to full blossom in urban Indian men’s social gatherings or goṣṭhīs dating to a few centuries before the Common Era. The paper combines this literary evidence with archaeological sources to show how a foreign social custom contributed to an indigenous institution of men’s society in ancient India by a process of adaptation. It would appear that as the institution moved into different parts of the Indian subcontinent, it increasingly came under Brahmanic influence, which led to an important ideological change that stressed literary and intellectual pursuits over alcohol and sex. Under royal patronage, the goṣṭhī finally became a means for the development of Sanskrit and Indian literature and drama.
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Rajendran, Chettiarthodi. "Celebrating Violence." Cracow Indological Studies 26, no. 2 (July 24, 2024): 205–18. http://dx.doi.org/10.12797/cis.26.2024.02.08.
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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 and death in Kūṭiyāṭṭam. It will also take the opportunity to briefly touch upon other classical performative art forms, like Kathakaḷi, which are based on epic and Purāṇic themes, and are noted for their prominent portrayal of violence on stage.
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Li, Shenghai. "Between Love, Renunciation, and Compassionate Heroism: Reading Sanskrit Buddhist Literature through the Prism of Disgust." Religions 11, no. 9 (September 15, 2020): 471. http://dx.doi.org/10.3390/rel11090471.
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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 Buddhist narrative: (1) discouragement with worldly objects and renunciation, and (2) courageous act of self-sacrifice. Vidyākara’s anthology of Sanskrit poetry (Subhāṣitaratnakoṣa) and the poetics section of Sa skya Paṇḍita’s introduction to the Indian systems of cultural knowledge (Mkhas pa rnams ’jug pa’i sgo) offer two rare examples of Buddhist engagement with aesthetics of emotions. In addition to some developed views of literary critics, these two Buddhist writers are relied on in this study to provide perspectives on how Buddhists themselves in the final phase of Indian Buddhism might have read Buddhist literature in light of what they learned from the theory of aesthetics.
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Khan, Shahab Yar. "Shakespeare i Orijent / Shakespeare and the Orient." Context: Journal of Interdisciplinary Studies 3, no. 2 (March 21, 2022): 77–83. http://dx.doi.org/10.55425/23036966.2016.3.2.77.
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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 characteristic features. Essentially, as reflection of human existence, it is a combination of all the known art forms and, therefore, becomes the deepest expression of the human soul. The rise of Islamic culture and civilization in the twelfth and thirteenth centuries contributed to the amalgamation of the two great civilizations. The impact of the Muslim culture in transforming the classical features of Indian music, architecture, science, literature, etc. can by no means be undermined. By the end of the sixteenth century, the century of liberal humanism and coincidently the era of the rise of the Mughal Empire, the theatrical art had gained enormous significance in India. There is enough evidence to believe that Shakespeare’s plays were first performed in India during the reign of the Mughals (1526-1857). Later, the newly emerging colonial power, the English, in its first stronghold in India, Calcutta, established alongside other bureaucratic, political and educational institutions, the Garrison Theater. The earliest performances at this theater date back to 1770s and the first ever documented English play on the Indian soil happens to be Shakespeare’s Othello. Shakespeare’s unique dramatic structure smoothly found its place of prominence in the cultural life of India, offering new dimensions to the already existing rich local tradition and at the same time enriching its own dramatic expression. Today, all the major educational institutions of the Subcontinent cherish the tradition of mounting on stage the annual performances of Shakespeare’s plays and the cinematographic tradition has incorporated his works into its popular tradition from the very beginning of the history of the film industry in India.
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Babu, Shyam. "Habib Tanvir’s Experiment with Folk Idioms: An Approach toward an Inclusive Theatre." International Journal of Literature Studies 3, no. 3 (September 9, 2023): 01–08. http://dx.doi.org/10.32996/ijts.2023.3.3.1.
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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 phenomena. The vitality and vigor of folk theatre for social change and awareness has been thus very essential and used equally by actors, artists, and playwrights to bring out desired change. The paper seeks to highlight HabibTanvir’s folk idioms as part of his theatre strategy for social inclusivity and political awareness. His formulations of naya theatre and his other dramatic innovations, which the paper progresses to show, have been phenomenal and anti-colonial in its approach. For this, I attempt to analyze his two well-known plays, namely, Agra Bazaar and The Living Tale of Hirma, as glaring examples of folk forms which are intended not only to subvert the colonial values but also to expose the social disparity post-independent Indian society was encountering.
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Sanathanan, Snehal P., and Vinod Balakrishnan. "Before the political cartoonist, there was the Vidusaka." European Journal of Humour Research 9, no. 4 (December 30, 2021): 91–109. http://dx.doi.org/10.7592/ejhr2021.9.4.571.
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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 nature and purpose of the humour. The paper also locates the principles of caricaturing in precolonial Indian visual arts, and presents the early vernacular cartoons as the point of convergence between the local satirical tradition and the western format of the political cartoon which laid the foundation for a modern yet specifically Indian sensibility
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Glushkova, I. P. "Bharata’s bibhatsa-rasa, Shudraka’s Mrcchakatika and Christian missionaries’ disgust." Orientalistica 3, no. 4 (December 28, 2020): 968–84. http://dx.doi.org/10.31696/2618-7043-2020-3-4-968-984.
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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 of the protagonist Vasantasena, a hereditary courtesan, “disgusting” and the play “shameful”. The final subjugation ofIndia after the defeat of the Sepoy Mutiny (1857–1858), and its transition under the British crown rule intensified the process of emotional indoctrination of subjects by resort to the notion of “disgusting” understood as anything not compatible with the Christian morality norms.
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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 (May 25, 2023): 32–35. http://dx.doi.org/10.51879/pijssl/060504.
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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 certifies cinema under 4 categories. But visual entertainment bearing the forbidden scenes strongly affect the minds of the audience. So the ancient writers of dramaturgy discarded some scenes which might have some negative impact on the audience. This paper aims at studying the psychological impact of excess exposure in tune with rules of censor board and rhetorical texts of Sanskrit.
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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.
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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, and studies how to use modern technology to improve opera image. First, this study briefly expounds on the presentation methods and current situation of traditional opera video technology. This study then describes in detail the imaging technology that combines opera and modern technology and then establishes the algorithm model of virtual reality imaging technology. And it then describes in detail the video technology that combines Chinese opera with multimedia technologies such as projection and virtual reality interaction. It then established a virtual reality technology algorithm model for opera images. This study then experiments, analyzes, and improves the multimedia opera video technology based on virtual reality. Finally, by means of a questionnaire survey, it investigates and analyzes the viewing attitude of opera images based on virtual reality technology. Through the research of virtual reality image technology and the investigation of citizens, this study obtains the methods and models to improve traditional opera images and effectively innovates opera. In a survey of citizens, it was found that nearly 70% of the respondents held a positive and optimistic attitude toward the virtual reality-based opera video technology, indicating that people are willing to accept the combination of traditional culture and modern technology. In the element loss detection experiment, it was found that nearly 70% of the interviewees were very interested in the method of combining traditional opera with modern technology. The model of virtual opera scene construction was improved so that the element loss rate was lower than 4%. The element representation delay is less than 3%, which improves the smoothness of the picture and maintains a good viewing experience.
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Brown, John Russell. "Shakespeare, the Natyasastra, and Discovering Rasa for Performance." New Theatre Quarterly 21, no. 1 (January 26, 2005): 3–12. http://dx.doi.org/10.1017/s0266464x04000284.
Full textAbstract:
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; in Bremen with actors of the Bremer Shakespeare Company; and in New Delhi with actors of the National School of Drama. Using actors both young and experienced, familiar and unfamiliar with ensemble playing, and well or poorly acquainted with the concepts involved, he suggests that the results merit further exploration of a technique which could empower actors to bring Shakespeare's plays to new kinds of life. John Russell Brown founded the Department of Drama and Theatre Arts at Birmingham University, and for fifteen years was an Associate Director of the Royal National Theatre. His New Sites for Shakespeare: Theatre, the Audience, and Asia was published by Routledge in 1999, and his Shakespeare Dancing: a Theatrical Study of the Plays by Palgrave Macmillan in 2004. He edited and contributed to The Oxford Illustrated History of Theatre (1995), and for Routledge has been General Editor of the ‘Theatre Production Studies’, ‘Theatre Concepts’, and forthcoming ‘Theatres of the World’ series.
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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 (May 15, 2024): 301–5. http://dx.doi.org/10.31305/rrijm.2024.v09.n05.036.
Full textAbstract:
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 glimpse of her motherhood in the ashram of sage Marich. Where the entire love of her heart overflows for her son, thus Kalidas has given a bright and unique character to the world literature by portraying Shakuntala as the living embodiment of affection, cordiality, modesty, femininity, decency, compassion and motherhood. Shakuntala has been described in this world famous drama Abhigyan Shakuntalam by the great poet Kalidas. Abstract in Hindi Language: नायिका के रूप में शकुंतला के चरित्र का यह क्रमिक विकास परम स्वाभाविक है। नाटक के अंत में सपत्नी, सदपत्य तथा सत्पुमान् तीनों के सम्मिलन से जीवन यज्ञ पूर्ण हो गया। यही मानवजीवन का चरम आदर्श है। इस चरम आदर्श की प्राप्ति के केंद्र में आदर्श नायिका शकुंतला का ही चरित्र सर्वत्र विद्यमान है। इसी के इर्द-गिर्द सारी घटनाये घटी हैं। वस्तुतः शकुंतला का चित्रण अत्यंत हर्षित करने वाली मधुरिमा का चित्र है। शकुंतला की सरलता अपराध में, दुःख में, अभिज्ञता में, धैर्य में और क्षमा में परिपक्व है, गंभीर है और स्थायी है। मारीच ऋषि के आश्रम में हमें उसके मातृत्व की झलक मिलती है। जहां उस के हृदय का समग्र प्रेम पुत्र के लिए उमड़ पड़ता है इस प्रकार कालिदास ने शकुंतला को स्नेह, सौहार्द, लज्जा, नारीत्व, शालीनता और करूणा तथा मातृत्व की साक्षात् प्रतिमा के रूप में अंकित करके विश्व- साहित्य को एक पवन, समुज्ज्वल और अनुपम चरित्ररत्न प्रदान किया है। यह नाटक अभिज्ञान शाकुंतलम में महाकवि कालिदास के द्वारा यह विश्व प्रसिद्ध नाटक में शकुंतला का वर्णन किया गया है। Keywords: मानवजीवन, चरित्र, स्नेह, सौहार्द
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Sharma, Ansh. "The Evolution of Man: Studying Sri Aurobindo's Dramatic Ouevre." SMART MOVES JOURNAL IJELLH 8, no. 9 (September 17, 2020): 39–53. http://dx.doi.org/10.24113/ijellh.v8i9.10752.
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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 different myths of origin, Sri Aurobindo, much like Shakespeare employs these stories only as the raw clay, while he mould the statue out of it, according to his own vision, that is the Evolution of Man.
An analysis of Sri Aurobindo’s plays elucidates the unparalleled range and vision to which his plays bear testimony. The notable feature of Sri Aurobindo’s plays is that they portray diverse cultures and nations in different aeons, populated with an array of characters, moods and sentiments.
Sri Aurobindo spent almost all his growing years in England, studying English and other classical literatures and the impact of this reading is discernible in his plays. He seems to be particularly impressed by the Elizabethan drama and employs its technique in matters of plot construction and characterisation. He is said to have perfected the English blank verse which he deftly displays in the dialogues of his characters. His plays can thus be said to be a unique blend of the Sanskrit and Western philosophical and aesthetic theories as the plot, the climax, the progression and the theme is unmistakably Indian. He seems to have been influenced by the Sanskrit playwrights like Bhasa, Kalidas and Bhavabhuti and all five plays are imbued with the poetry and romance which is similar in spirit and flavour of the distinctive dramatic type which was the signature style of Bhasa, Kalidas and Bhavabhuti, and simultaneously preserve the Aurobindonian undertones. The paper attempts to elucidate the ‘Evolution of Man’ which Sri Aurobindo mounts through his plays.
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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 textAbstract:
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 great temples (mahakshetras) for the pleasure of God’s souls and the invocation of their powers. Kūṭiyāṭṭam and Kuttu – Kerala’s Sanskrit drama performing art forms – have been recognized as Intangible Cultural Heritage due to 2000 years of tradition. As ‘visual sacrifice’ staging scenes from the Ramayana and Mahabharata, they combine dance with theatre performance, Sanskrit verses (slokas), and percussive music in a ritualistic context. The main supporting percussion instrument (mizhavu) serves as deva vādyam – an instrument for the deities. Its classification as a one-headed drum covered with skin (avanaddha vadya of the dardura type) goes back to the Natya Shastra of Bharatamuni – some 2000 years ago. Definitions as kettledrum (bhanda vadya) trace it back to Kautilya’s Arthasastra. The Buddhist Pali Tripitaka refers to pot drums (kumba toonak). Tamil epics mention a muzha or kuta muzha drum. Publications in recent decades nearly mention that drum. Production methods, forms, and material of the drum have changed over the ages. Attached to the artistic heritage of a certain Brahmin caste – the Nampyar – the drum has spent a long period in the environment of temple theatres. Since 1966, it has been taught to pupils of all castes at the Kerala Kalamandalam, Thrissur District. P.K.K. Nambiar worked as the first mizhavu teacher in the later added Kūṭiyāṭṭam department. He was followed by his pupil K. Eswaranunni, the first mizhavu guru from another caste, fighting for acceptance among members of Chakyar and Nampyar families. As a passionate master with numerous awards and performance experience all over the world, K. Eswaranunni has trained most of the contemporary mizhavu percussionists, who are still performing all over India as well as abroad. This paper gives an overview of the instrument and shows how the mizhavu is described by both gurus in their books written in Malayalam and by both authors including their personal relations to the drum.
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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 (August 15, 2019): 51–68. http://dx.doi.org/10.54692/jelle.2019.010138.
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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, a heroine from the classic epic Shakuntala by Kali Dasa, a Sanskrit writer, in the play has been negotiated, subsequently contributing to this corollary that the characters in the play, in their acts to perform legendary roles on stage, actually present their own lives, psyche, self, emotions and personalities through their roles. The researcher has two arguments to carry in this research, first how the text embedded play within play technique in the structure, secondly application of Ervin Goffman‟s (1922-1982) notion of dramaturgical analysis on the characters and plot. Hence, the lives of characters and their role performance on the stage have been negotiated as echo-perspective in the play by the researcher. So, this research would be a positive addition to the body of modern Indian drama and Sociology. This is basically qualitative research in design and is based on textual analysis.
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Chaudhuri, Sukanta. "Shakespeare Comes to Bengal." Multicultural Shakespeare: Translation, Appropriation and Performance 27, no. 42 (November 23, 2023): 31–46. http://dx.doi.org/10.18778/2083-8530.27.03.
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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 melded with traditional Bengali popular drama to create a new professional urban Bengali theatre. The close interaction between page and stage also evinced a certain tension. The highly indigenized theatre assimilated Shakespeare in a varied synthesis, while academic interest focused increasingly on Shakespeare’s own text.
Beyond the theatre and the classroom, Shakespeare reached out to a wider public, largely as a read rather than performed text. He was widely read in translation, most often in prose versions and loose adaptations. His readership extended to women, and to people outside the city who could not visit the theatre. Thus Shakespeare became part of the shared heritage of the entire educated middle class. Bengali literature since the late nineteenth century testifies strongly to this trend, often inducing a comparison with the Sanskrit dramatist Kalidasa. Most importantly, Shakespeare became part of the common currency of cultural and intellectual exchange.
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Brown, John Russell. "Voices for Reform in South Asian Theatre." New Theatre Quarterly 17, no. 1 (February 2001): 45–53. http://dx.doi.org/10.1017/s0266464x00014317.
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The classical theatres of southern Asia are variously treated with the reverence thought due to sacrosanct and immutable forms – or as rich sources for plunder by western theatre-makers in search of intra-cultural building-blocks. The rights and wrongs of this latter approach have been much debated, not least in the pages of NTQ; less so the intrinsic desirability of leaving well alone. At the symposium on Classical Sanskrit Theatre, hosted in Dhaka by the Centre for Asian Theatre in December 1999, an unexpected consensus sought ways in which classical theatre forms might best meet contemporary needs, not only by drawing upon their unique qualities – but also by respecting the injunction in the Natyasastra that the actor must combine discipline with a readiness for improvisation. John Russell Brown here supports the conclusions of the symposium that the qualities of Asian theatre which differentiate it from western forms – of a quest for transformation rather than representation, a concern with emotional truth rather than ideological ‘meaning’ – can best be pursued by such an approach, restoring to the theatre ‘its enabling and necessary role in society’. John Russell Brown was the first professor of Drama and Theatre Arts at the University of Birmingham, and subsequently Associate Director at the National Theatre in London. More recently he has taught and directed in the USA, New Zealand, and Asia, and is now Visiting Professor of Performing Arts at Middlesex University. The most recent of his numerous books is New Sites for Shakespeare: Theatre, the Audience and Asia (Routledge, 1999).
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Ganser, Elisa. "Dance as Yoga: Ritual Offering and Imitation Dei in the Physical Practices of Classical Indian Theatre." Journal of Yoga Studies 4 (April 10, 2023): 137–71. http://dx.doi.org/10.34000/joys.2023.v4.004.
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In the Nāṭyaśāstra, two main types of physical practices are described in some detail: the so-called “bodily acting” (āṅgikābhinaya) and dance (nṛtta). Although their building blocks are to a large extent common, their purpose appears to be different: while bodily acting is used for dramatic mimesis, dance is said to produce beauty and to be auspicious. Peculiar to the technique of dance are the one hundred and eight karaṇas, complex dance movements that require great coordination, balance and flexibility. Sculptural representations of the karaṇas in the mediaeval temples of South India and in Central Java, as well as some interpretations by contemporary dancers, have elicited comparisons with yogic āsanas, notwithstanding the fact that the karaṇas were first and foremost codified in the context of Sanskrit theatre. More generally, the overlap between dance and yoga-related concepts and practices in antiquity has not been studied in depth. In this chapter, I investigate the connection of dance with the pūrvaraṅga, the preliminary rite that precedes the performance of a play, in order to highlight the connection of some of the physical practices described in the Nāṭyaśāstra’s chapter on dance with ideas of mental cultivation, ritual, and devotion. This connection is particularly evident in the case of the piṇḍībandhas, a set of movements of difficult interpretation that present ideological affinities with practices described in early religious sources, especially, but not exclusively, those of Śaiva affiliation. Finally, I argue that this interface between drama and ritual points to a shared ground for practices and beliefs connected with the body in ancient India.
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Shashneva, Ekaterina Nikolaevna, Svetlana Ivanovna Val'kevich, Viktor Georgievich Maslov, Aleksei Aleksandrovich Mihailov, Lyudmila Viktorovna Ershova, Oleg Yur'evich Astakhov, Karine Evgen'evna Romanova, and Zhanna Leonidovna Okeanskaya. "Oriental motifs and images in the works of K.D. Balmont: a cultural aspect." Человек и культура, no. 6 (June 2023): 164–76. http://dx.doi.org/10.25136/2409-8744.2023.6.69360.
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The article examines oriental motifs and images in the work of the poet of the Silver Age K.D. Balmont. The cultural significance of K.D. Balmont's work is undoubtedly for the ideas of the Silver Age. The purpose of the study is to analyze the work of K.D. Balmont and identify oriental images and motifs such as: the Enlightened Buddha, the desert, the Sphinx, the Koran, Allah, the Merciful. The object and material of the study were the poetic texts of K. Balmont: "Boro-Budur" from the collection "Burning Buildings", "Sphinx" from the collection "Silence", "Merciful" from the collection "Pearl Rug". The scientific novelty of our research lies in the consideration of motives and images as an important component of the figurative picture of the world and the poetic worldview of K.D. Balmont. The culturological aspect of oriental themes in the poet's work has been identified and substantiated. Such oriental ideas and motifs were formed, new images in his work as: the enlightened Buddha, Nirvana, pyramids, desert, Sphinx, motifs of the Koran, Allah, the Merciful, etc. In 1909-1912, K.D. Balmont traveled around the world. Egypt, Indonesia, and India completely conquered the poet. Balmont studied a huge number of scientific works on religion, philosophy and mythology of the East. K.D. Balmont wrote many letters, poems, travelogues, essays on the culture of the East. The poet's translation activity occupies a special niche in his work. He translated Ashwagosh's "The Life of the Buddha" from Sanskrit, Kalidasa's drama "Sakuntala", "Malyavika and Agnimitra" and "Urvashi Obtained by Courage", and he translated "The Koran" from Arabic. Folklore and mythology of India, China, Japan, and Iran are collected in the collection "Calls of Antiquity".
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Viswanathan, Kaladharan. "Kerala Kalamandalam: A legacy revisited." Indian Theatre Journal 7, no. 1 (June 1, 2023): 17–35. http://dx.doi.org/10.1386/itj_00032_1.
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The performance landscape of Kerala is diverse, and its history hails the glory of Kutiyattam, the sole surviving Sanskrit theatre tradition in India; Kathakali, the classical dance-drama; and Mohiniyattam, an exclusive female dance form. This is in addition to a huge variety of ritual and folk performance forms all over the region. While the first onstage recital of Kutiyattam performance and the subsequent development of its aesthetics and criticism date back to tenth and eleventh century AD, the entire Kathakali repertory originated and developed in the seventeenth century. On the other hand, Mohiniyattam seems to have originated even later. As a residential training centre for traditional performing arts in Kerala, Kalamandalam facilitated intense and uninterrupted communications amongst the top-ranking artists of various art forms. The Second World War had its devastating effects on the cultural institutions in India in general, and Kalamandalam in particular. Then, the Department of Education, Government of India, took over the administration of Kalamandalam. In 1976, Kalamandalam became a grant-in-aid institution under the Charities Registration Act and started functioning under a General Council and Executive Board constituted by the Government of Kerala. In 2006, Kalamandalam was deemed to be a university, functioning under the Cultural Affairs Department, Government of Kerala. The main objective of the institutional transformation was to combine practical training in different performing arts at the academic level. Several groups of students are now coming out of Kalamandalam every year after successfully completing their graduate and postgraduate programmes. Advanced training programmes are held at the Nila Campus in Cheruthuruthy, while the undergraduate courses are offered at the sprawling Vallathol Nagar Campus.
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Taylor, Sharmila, and Kamna Sisodia. "HISTORY OF INNOVATION IN MUSIC, WITH REFERENCE TO DHRUPAD SINGING STYLE." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3406.
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Changing the tradition of history is a natural process of nature. In the context of the Dhrupad singing style in the Indian classical music world, if we take a historical view, the practice of singing Dhruva and Prabandha songs before this style was prevalent. The ritual form of Dhruva songs is found in Sanskrit drama texts from pre- to late India. Dhruva has an important place in terms of song composition.Even in the exorcisms used in the puvarang before the Natyarambha, the Dhruvas have special importance due to the use of musical instruments. Originally, the verses of songs which are used within the play are called Dhruva to make those situations intensified or to intensify the character of the characters in various situations of the play. They are also related to the lyricists due to their use of various parts of the lyricists.
इतिहास की परम्परा में परिवर्तन होना प्रकृति की स्वाभाविक प्रक्रिया है। भारतीय शास्त्रीय संगीत जगत में ध्रुपद गायन शैली के सन्दर्भ मं हम ऐतिहासिक दृष्टि डालें तो इस शैली के पूर्व ध्रुवा एवं प्रबन्ध गीतों को गाने का प्रचलन था। ध्रुवा गीतों की परम्परा का क्रियात्मक रूप भरत के पूर्व से लेकर परवर्ती संस्कृत नाटक ग्रंथों में पाया जाता है। गीत रचना की दृष्टि से ध्रुवा का महत्त्वपूर्ण स्थान है।नाट्यारम्भ से पहले पूर्वरंग में प्रयुक्त बहिर्गीतों में भी ध्रुवाएं वाद्यप्रयोग की उपरंजक होने के कारण विशेष महत्व रखती हैं। मूलतः नाट्य की विभिन्न परिस्थितियों में रसानुभूति करा कर उन परिस्थितियों को तीव्र बनाने अथवा पात्रों के चरित्र को उभारने के लिए जिन छन्दोबद्ध गीतों का प्रयोग नाट्य के भीतर किया जाता है वे ध्रुवा कहलताी है। गीतकों के विभिन्न अंगों का इनमें प्रयोग होने के कारण ये गीतकों से भी सम्बन्ध है।
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Sivanandan, SRUTHI. "Traversing Boundaries: An Analysis of the Unremitting Psychic Unity in The Waste Land." BL College Journal 5, no. 2 (December 2023): 138–45. http://dx.doi.org/10.62106/blc2023v5i2e14.
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Known as ‘Pope of Russel Square’ in the history of English literature from the 20th century, T. S. Eliot’s, literary ingenuity augmented the modernist writings. ‘The Waste Land’ is one such eventuality that, retrospectively from the publication, permuted worldwide, giving boundless definitions and ceaseless critical appraisals. Contriving the idiom of modern poetry, his career as a part never went over the hill since it was chiselled out of the emotional and intellectual retaliation to a gest which was his life itself. The close-grained, fragmented study of his works, has seemingly been immense and comprehensive. Being portrayed as the literary arbiter, his personal life was lucid and full of drama. The oeuvre hence hollers the zeitgeist of his era. As a philosopher, his happy hunting ground was both religion and the emphasis on conforming to the basic moral values of life. His ethical involvement with life emanates from the underlying desolation and devastation regarding his personal life. When he assiduously carried his position in poetry, politics, and literature, he was tagged as heedless in his personal life. The childhood limitations sprouted out from the complications of inguinal hernia, later when he was at Harvard while studying Sanskrit and Indian philosophy, the commencement of WWI and the escape from Oxford after witnessing a society which was wartorn, a love affair with Emily Hale which closed out in two shakes of a lamb’s tail and the hasty entry into wedlock with Vivienne Haigh-Wood whose alleged adultery with Bertrand Russel and her ailment that followed took a toll on his burgeoning literary career. The shuffling was wilfully implemented, as alluded to by many critics. But for a feeler who, exasperated by the atrocities of war, could not necessarily keep the word restrained to the end and the overscrupulous side of Eliot could not have missed the slightest of the change either.
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Kumar, Dr Yogendra. "Muhurta science in view of Valmiki Ramayana (वाल्मीकि रामायण की दृष्टि में मुहूर्त विज्ञान)." Yog-garima 1, no. 1 (March 28, 2023): 27–30. http://dx.doi.org/10.52984/yogarima1105.
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If we look into the Indian tradition, we get the description of many high quality books. In that Valmiki Ramayana composed by Maharishi Valmiki has an important place in human life. Regarding this epic, Dr. Neelam Singh has told in his research paper that Ramayana is a unique Sanskrit epic written by Adi poet Valmiki. This is the part of Hindu memory through which the saga of King Rama of Raghuvansh was told. It is also called the poetry of the beginning. There are seven chapters of Ramayana which are known as Kanda. The story of Lord Shri Ram versed by Maharishi Valmiki is known as Valmiki Ramayana and is called Adikavi of Valmiki and Valmiki Ramayana is also known as Adi Ramayana.1 Throwing light on the importance of the epic, it has been told that the importance of Valmiki Ramayana is there even today and will remain so in the future. True literature has the ability to shape the future, it is in the Ramayana. Ramayana meets this criterion. He has the ability to show the way to the generations to come. In it, generosity, righteous meaning and work surrender and protection of the victim, superiority of human, friendship, obedience, fasting, sweet and plant speech etc. undoubtedly make Ramayana an immortal epic.2 Among the common people, the Ramkatha has come to be revered as the struggle of good against evil and the dignity and deep compassion of various human relationships. It is a kind of cultural document. It is a matter of pleasant surprise that even after so many years its attraction has not decreased at all. How deep is the attraction and impact of the original spirit of this epic, it can also be felt from the place Ramkatha has found in the folk tales, drama, dance, architecture, sculpture, etc. of many countries of Asia. Therefore, showing the description of importance, etc., in this research paper, astrologers will try to tell about the science of Muhurta in this epic.
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Richmond, Farley P., G. Venu, Bhāsa, and Bhasa. "Production of a Play in Kūṭiyāṭṭam: Text and Translation of the First Act of Abhiṣeka Nāṭaka of Bhāsa with the Kramadīpika (Production Manual) and the Āṭṭaprakāraṁ (Acting Manual) from the Sanskrit Drama Tradition of Kerala." Asian Theatre Journal 8, no. 2 (1991): 186. http://dx.doi.org/10.2307/1124547.
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Gupta, Yashasvi. "STAGE TECHNOLOGY IN THE MODERN ERA." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3416.
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The specific place where the artist sits for the presentation of any art or specific ideas is called the stage. This is also called theater because pigmentation is its main subject. In Western countries or the English language, it is called a stage. It seems that theater was prevalent among the deities even before the emergence of humans. Like Kailash festival of Lord Shiva, Mata Vagishwari sitting on a peacock with a veena in her hand and dancing in the court of Indra to Gandharva, Kinnar, and Apsaras only indicate the existence of the stage. According to the tradition of Indian music and drama, theater is first mentioned in the famous scripture Natya Shastra of Sanskrit literature. In ancient times, when the sage Muni used to do penance, he used to be in a tomb at some high place. Similarly, kings and emperors etc. used to address the meeting only after sitting on any highest posture. Because art is an essential part of life, it is natural to develop artistic elements along with the development of civilization and culture. A modern form of stage or theater can be achieved as a result of this long sequence of development.
किसी भी कला अथवा विशिष्ट विचारों की प्रस्तुति के लिए कलाकार जिस विशिष्ट स्थान पर विराजमान होते हैं उसे मंच कहा जाता है। रंजकता इसका प्रमुख विषय होने के कारण इसी को रंगमंच भी कहते हैं। पाश्चात्य देशों अथवा अंग्रेजी भाषा में इसे स्टेज कहा जाता है। ऐसा प्रतीत होता है कि मानव के उद्भव से पूर्व भी रंगमंच देवी देवताओं में प्रचलित था। जेसे भगवान शिव का कैलाश पर्व, माता वागीश्वरी का हस्त में वीणा लेकर मयूर पर बैठना तथा इन्द्र के दरबार में गांधर्व, किन्नर, एवं अप्सराओं को नृत्य आदि मंच के अस्तित्व की ओर ही संकेत करते हैं। भारतीय संगीत एवं नाट्य परम्परा के अनुसार सर्वप्रथम संस्कृत साहित्य के सुप्रसिद्ध ग्रंथ नाट्य शास्त्र में रंगमंच का उल्लेख मिलता है। प्राचीनकाल में ऋषि मुनि जब तपस्या करते थे तो किसी न किसी उच्च स्थान पर समाधिस्थ होते थे। इसी प्रकार राजा व सम्राट आदि भी किसी उच्चतम आसन पर आसीन होकर ही सभा को संबोधित किया करते थे। क्योंकि कला जीवन का एक अनिवार्य अंग है, अतः सभ्यता एवं संस्कृति के विकास के साथ-साथ कलात्मक तत्वों का विकास होना भी स्वाभाविक है। विकास के इसी लम्बे क्रम के परिणाम स्वरूप मंच अथवा रंगमंच का आधुनिक रूप प्राप्त हो सकता है।
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Chakraborty, Pallabi. "Play, Defiance and Imagination As Forms Of Knowledge Production : Examining Bidesiya As Folk Theatre and Its Pedagogical Implications in Classrooms Of Literature." International Journal of English Learning & Teaching Skills 5, no. 4 (July 3, 2023): 3447–60. http://dx.doi.org/10.15864/ijelts.5406.
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India houses a number of folk theatrical forms that are simple and closer to the rural milieu. After the decline of Sanskrit classical drama in India, from the 14th to the 19th century, folk theatre emerged in myriads of rural languages. These theatrical forms can be categorised under two broad genres, viz., "Ritual Theatre" that was religious in nature, and the "Theatre of Entertainment," which was more secular in mood. One such example of the secular form is Bidesiya, the dynamic and popular theatre of Bihar. Bidesiya, like the name suggests, revolves around the "bides" / "pardes," i. e., foreign land / homeland dichotomy. Bidesiya emerged and was given shape by Bhikhari Thakur, the highly-acclaimed poet, playwright, and actor, and aimed at disseminating some kind of social message through the plays. Bidesiya also makes use of a plethora of folk songs that are rooted in Bihar's soil, and these plays were primarily performed by actors belonging to lower-caste communities. The most crucial aspect of Bidesiya is that this folk theatrical form is fundamentally radical and fluid in terms of how it deals with gender. Bidesiya showcases Launda naach — or the dance native to Uttar Pradesh and Bihar that is performed by female impersonators — as a powerful theatrical technique. The present paper seeks to scrutinise Bidesiya as a gender-fluid folk theatrical form of India, and further explores the manner in which Bidesiya problematises the essentialist notion of fixed gender identity. The paper, therefore, begins with an elaborate discussion on the origin of Bidesiya, and moves on to study its various aspects, including the structure of the plays and the performers' troupes, the "men's" and "women's" folk songs which are associated with the genre, and the underpinnings of the staged performances. The paper then investigates the obfuscation of gender by the actors, visible in Launda Naach — the central element of Bidesiya plays — and the presentation of the songs, written from feminine perspective, by men. The concluding section of the paper highlights the pedagogical implications of Bidesiya and its relevance in classrooms, with a special emphasis on how gender is revealed as performative in the plays. Introducing Bidesiya in classroom education resists didacticism by promoting hands-on learning, creates a space for the students to locate themselves within the broad spectrum of gender identities, and also indulges imaginative voyages, as this paper will show.
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Tieken, Herman. "Austin, Christopher R.: The Pradyumnābhyudaya of Ravivarman. A New Sanskrit Text of the Trivandrum Edition and English Translation. Wiesbaden: Harrassowitz 2019. 156 S. 8° = Drama und Theater in Südasien 12. Brosch. € 39,00. ISBN 978-3-447-11191-1." Orientalistische Literaturzeitung 115, no. 6 (April 29, 2021): 477–80. http://dx.doi.org/10.1515/olzg-2020-0160.
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Murugesapandian, N. "Dravidian Movement’s Political Dramas." Shanlax International Journal of Tamil Research 7, no. 4 (April 1, 2023): 1–9. http://dx.doi.org/10.34293/tamil.v7i4.6255.
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Even after India’s independence from British colonialism, the Vedic Sanathana dominated the majority of people. The Dravida Munnetra Kazhagam criticised the ruling Congress party in Tamil Nadu. At the same time, the ideas of social reforms against the social atrocities that dominated the Tamil society of that time were depicted through political dramas. The Dravidian movement’s political dramas particularly portrayed the views against the caste inequality, untouchability, gender inequality, mythological myths, and Sanskrit dominance created by the Vedic Sanathana.
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DuComb, Christian. "Present-Day Kutiyattam: G. Venu's Radical and Reactionary Sanskrit Theatre." TDR/The Drama Review 51, no. 3 (September 2007): 98–117. http://dx.doi.org/10.1162/dram.2007.51.3.98.
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G. Venu, a scholar and practitioner of kutiyattam, responds to contemporary political conditions in Kerala and draws on the work of India's experimental Theatre of Roots movement in his unexpectedly classical production of Sakuntala. Though imbricated in both the traditional and the avantgarde—creating what Venu aptly calls “present-day kutiyattam”—the question remains: will the project's politics be read to the radical or the revolutionary?