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Sanskrit Drama
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| c. fourth century BC thru 9th century BC |
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(The Art of Theatre)
the earliest treatise on both the theory and practice of Sanskrit drama. Attributed to one Bharata but probably compiled by several authors sometime around the second century AD. |
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| The two great Hindu epics which provided most of the subject matter for the early Indian Theatre and dance. |
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INDIAN PLAYWRITES & FAMOUS PLAYS
BHASA |
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| THE VISION OF VASAVADATTA (4TH-2ND CENTURY BC) |
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INDIAN PLAYWRIGHTS & FAMOUS PLAYS
KALIDASA |
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SHAKUNTALA
(5TH CENT. AD) |
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INDIAN PLAYWRIGHTS & FAMOUS PLAYS
SUDRAKA |
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MRCCHAKATIKA
"THE TOY CART"
(c. 6th century AD) |
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INDIAN PLAYWRIGHTS & FAMOUS PLAYS
HARSA |
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INDIAN PLAYWRIGHTS & FAMOUS PLAYS
BHAVABHUTI |
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THE LATTER HISTORY OF RAMA
(8TH CENTURY AD) |
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INDIAN PLAYWRIGHTS & FAMOUS PLAYS
VISAKHADATTA |
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THE SIGNET RING OF RAKSASA
(9TH CENTURY AD) |
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| (CODIFIED HAND GESTURES) 13 HEAD, 6 NOSE, 6 CHEEK, 7 CHIN, 5 CHEST, 36 EYES, 32 FEET, 24 OF SINGLE HAND |
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(ANY STATE OF MIND AND BODY, EMOTIONS, FEELINGS, SENTIMENTS, PASSIONS)
* INDIAN CONCEPT OF MIMESIS IS THE IMITATION OF A STATE OF BEING. |
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| VERNACULAR LANGUAGE, SANSKRIT, LITERALLY, "CULTIVAED" OR "PERFECTED" LANGUAGE |
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(MOOD, SENTIMENT, FLAVOR, ETC)
THE CENTRAL THEORETICAL CONCEPT.
"NOTHING HAS MEANING IN THE DRAMA EXCEPT THROUGH RASA." CREATING, EVOKING IN THE MIND OF THE AUDIENCE
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| 1. RATI - DESIRE, AFFECTION, EROTIC LONGING |
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2. HASA - LAUGHTER, COMIC OR FARCICAL JOY, BUT NOT LAUGHTER INVOLVING CYNICISM OR SCORN |
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| ANGER ARISING FROM THE FEELING OF ILL-TREATMENT |
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| SADNESS AS A RESULT OF A SEPARATION FROM A LOVED ONE |
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| PRIDE IN ONE'S OWN POWERS, LEADING TO DISPLAYS OF ENERGETIC ENTERPRISES, BRAVERY, CHARITY, OR FORGIVENESS |
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| FEAR OF REPROACH OR ATTACK |
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| WONDER, CHILDLIKE SURPRISE |
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PEACE, SERENITY, THE FEELING OF ONENESS ARISING FROM A SENSE OF WHOLENESS (THE SUM OF ALL OTHERS; THE TRANCENDENT, INEFFABLE RASA)
**THE BALANCING OF THE EIGHT SENTIMENTS IN HARMONY IS THE IDEAL OF SANSKRIT DRAMA |
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