Traditionally assigned to Bharata, a legendary sage, Natya Shastra is one among the famous trio of India, the other two being Kautalya’s Artha. Natya was then taught by God Brahma to the mythic sage Bharata, who is said to have recorded this teaching in the Natyashastra. The origin of the book is thus. The Nātya Shastra (Nātyaśāstra नाट्य शास्त्र) of Bharata is the It is attributed to the muni (sage) Bharata and is believed to have been.

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Part of a series on. The Editors of Encyclopaedia Britannica. However, Shasfra Vatsyayan, a leading scholar of Indian classical dance, has argued that based on the unity of the text, and the many instances of coherent references to later chapters in the earlier text, the composition is likely that of a single person.

The umni approach of the text is treat entertainment as an effect, but not the primary goal of arts. The Natyashastra and other ancient Hindu texts such as the Yajnavalkya Smriti assert that arts and music are spiritual, with the power to guide one narya mokshathrough empowering the concentration of mind for the liberation of the Self soul, Shastrx.

It also deals with the rasas and bhavas that may be evoked by music. The text originated to enable arts that influence the society and encourage each individual to consider good counsel, to explain sciences and demonstrate arts and crafts widely. The art schools of Shilalin and Krishashva, mentioned in both the Brahmanas and the Kalpasutras and Srautasutras[33] may have been associated with the performance of vedic rituals, which involved storytelling with embedded ethical values.

Bharata and his Natyashastra | | Asian Traditional Theatre & Dance

Love the shastga and hate the villain. Drishtaphala [visible fruits] like banners or material rewards do not indicate success of a play production.

The primary goal is to lift and transport the spectators, unto the expression of ultimate reality and transcendent values.


The work provides the basic source of information on the intricacies of Indian theatre. Lasya also indicates a performance style in which a hatya performer enacts a text sung by a singer by means of gestures and mime.

Its many chapters contain detailed treatments of all the diverse arts that are embodied in the classical Indian concept of bharay dramaincluding dance, music, poetics, and general aesthetics. Her Voice, Her Faith: The facial muscles, eyes, eyebrows, etc.

Without these melodic intonations, states the text, a song becomes like “a night without the moon, a river without water, a creeper with a flower and a woman without an ornament”.

The concept of beauty in Indian tradition is, therefore, conceived and presented nqtya the experience of delight at a higher level of consciousness. Asia Sanskrit literature In India: Two versions of the text, one running to 37 chapters and the other containing 36 chapters, are available.

Significance of compositional forms in Hindustani classical music.

Yudhishtar to turn director with series on bikes, bikers. The different types of characters and their characteristics are beautifully explained and the present day directors of movies would find ample guidance to the art of choosing artists shasstra distributing the roles.

If all goes well, the spectator then receives these various signals, which awake the particular sentiment in question in his or her mind. The Natyasastra describes the stage for shastraa arts as the sacred space for artists, and shastfa the specifics of stage design, positioning the actors, the relative locations, movement on stage, entrance and exit, change in background, transition, objects displayed on shastrq stage, and such architectural features of a theatre; the text asserts that these aspects help the audience get absorbed in the drama as well as understand the message and the meaning being communicated.

For example, in some traditions the actor speaks or recites his lines, while in another style the actor only embodies the role character while a singer or a narrator takes care of the vacika or verbal aspect of the performance.

Bharata Muni’s Natya Shastra

Chapters 15 and 16 of the text discuss Sanskrit prosody in a manner similar to those found in more ancient Vedanga texts such as the Pingala Sutras. It may be the work of several authors, but scholars disagree. But this they should do with no intention of disturbing bbharat play. However, in traditional usage, Bharata has been iconified as a muni or sage, and the work is strongly associated with this personage.


Bhaart you prefer to suggest your own revision of the article, you can go to edit mode requires login. Some theatrical styles, such as chhauemploy colourful masks Sakari Viika Many of the solo dance styles employ simple basic make-up Sakari Viika. The history of earlier contributions by wikipedians is accessible to researchers here:.

The Natyashastra defines drama in verse 6. Ancient Indian dance and music find their root in the Nattiyam. Bharata is considered the father of Indian theatrical art forms.

Bharata Muni’s Natya Shastra

The Senses in Performance. The nrtta is constructed of the technique of rendering the rhythm tala through movements that do not have any specific meaning, and the skill of projecting frozen, sculptural poses within a given rhythmic cycle. Most probably it preserves information and practices that for generations had already originally been conveyed orally.

The spectator’s concentrated absorption and appreciation is success. Musical instrument types mentioned in the Natyashastra string, flute, drums and cymbals.

Since nothing is known about Bharata, any arguments regarding date of the Natya Shastra are based solely on the text. All these leading and accessory emotions, as well as voluntary and involuntary actions, aim to create the sentiment of love in the audience. Training actors For an actor who is not shastraa perfect, the techniques described in the Natyashastraare a means to achieve perfection, enlightenment, moksha, and nata parallel to reaching this state through yoga or meditation practices.