Dramatic Concepts Greek & Indian: A Study of the Poetics and the NāṭyaśāstraD.K. Printworld, 1994 - 295 pages This study offers a fresh approach in comparing ancient Greek and Indian dramatic theories. Instead of treating the Poetics and the Natyashastra as Western and Eastern viewpoints, it places them within the broad framework of ancient Indo-European culture and the art of sacred drama (hieropraxis). It demonstrates that hieropraxis was basically different from post-Renaissance European drama which was entirely secular in content and Realistic in presentation. The Poetics and the Natyashastra on the contrary, belonged to theatres which pleased both gods and men, and which used semiotised gesture, dance, music, and dialogue to create a highly ornate theatrical reality. The book aims at comparing not only the concepts as propounded by Aristotle and Bharata Muni, but also attempts to reconstruct the Greek and Indian performances to highlight their similarities and differences. In view of the increasing constrains imposed on artistic endeavours by commercial pre-occupations in today's world, this stimulating revaluation of the two major classical stage-crafts will go a long way in the discerning and shaping of newer modes of performance. Concepts like anukarana, dharmi, abhinaya, itivritta, mimesis, muthos, melopoiia, katharsis and rasa, etc., as revisited and expounded here, can be seen as means of creating dramatic shows which go beyond message and entertainment to provide sublimer experiences. |
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Page 90
... division of emotions into sthāyi and vyabhicări and the division of the theatrical medium into vibhāva and anubhāva , shall be examined in " Transfor- mation and Emotional Arousal . " As we have seen Aristotle has classified the modes ...
... division of emotions into sthāyi and vyabhicări and the division of the theatrical medium into vibhāva and anubhāva , shall be examined in " Transfor- mation and Emotional Arousal . " As we have seen Aristotle has classified the modes ...
Page 106
... division of abhinaya or communicative channels , Bharata Muni has laid the base for the complicated work that an actor can do to get across his meaning . This division is not only adequate in describing all that an actor usually does in ...
... division of abhinaya or communicative channels , Bharata Muni has laid the base for the complicated work that an actor can do to get across his meaning . This division is not only adequate in describing all that an actor usually does in ...
Page 126
... Division of Space Use of space in modern theatre can hardly give us any idea about the hieropraxic management of space , where it is divided into areas which are reserved for predominantly three representational categories ; speech ...
... Division of Space Use of space in modern theatre can hardly give us any idea about the hieropraxic management of space , where it is divided into areas which are reserved for predominantly three representational categories ; speech ...
Contents
INTRODUCTION | 3 |
THE DATE OF THE NAṬYAŚASTRA | 19 |
INDOEUROPEAN BELIEFS IN GREEK | 41 |
Copyright | |
15 other sections not shown
Common terms and phrases
abhinaya according acting action actor āhārya ancient Aristotle audience become believed Bharata Muni bhāvas body called channels chapter characters chorus classical comedy communication concept costume created culture dance defined described dhruvā dialogue division drama earlier early effect elements emotional employed enacted European example existed experience express fact feeling festive followed four genres gestures give given gods Greek theatre hand human imitation Indian indicate katharsis kind known language later major meaning meant medium mentioned mimesis mode movements nature natya notes objects original performance perhaps person play pleasure Poetics postures practice present production rasa reason result rhythm ritual Sanskrit sättvika says seems single song space spectators speech stage step sthāyi story structure suggests supposed taken theatre theatrical theory things thought tradition tragedy transformation various verse visual whole women