Sanskrit Theatre

Question 1

Rasa

Answer 1

Indian aesthic flavour of any visual literacy or music work that is percieved by audience.
- literally means “nectar”, essence or taste.

Question 2

9 Rasas/ Human emotions

Answer 2

Hasya (joy) [laughter, Myrth, comedy]
bhayanaka (fear) [terror]
raudra (anger) [rage]
shringar (love)
vira (courage) [valor]
karuna (sadness)
adbhuta (amazement) [wonder]
vibhatsya (disgust) [aversion]
shanti (calmness) [peace]

Question 3

Mudras

Answer 3

symbolic hand gesture used in Hindu and Buddhist ceremonies and statuary and in Indian dance.
- a way of communication
- is a seal or an emblem
- used to denote things by their right names
- can sum up a god/goddess’ character or a dancer’s mood.

Question 4

Natyashastra

Answer 4

a guidebook for performance of classical sanskrit theatre.
-considered a spirtual, ritual ceremonal text.
- including concepts of the drama; dance, music, poetics, and general aesthetics.
aspects of the drama attributed to the sage Bharata. collected/ authored in 200 BCE and 200 CE.

Question 5

Ramayana

Answer 5

Is a great epic of the sanskrit language about King Rama who must save his kidnapped wife Sita.
-Teaches Hindu life lessons
-various contrasting endings
-Rama is exile by his father in request by his stepmother Kaikeyo. In exile, a evil spirit tempts him, but he refuses. Thus , Sita (his wife) ends up being kidnapped.
-ending 1: He saves her and they return to their kingdom
-ending 2: Sita once rescued is put through a fire test of loyality. She is sent away with her unborn twins.

Question 6

Mahabharta

Answer 6

The longest epic recorded.
created by Vyasa.
- duration: one whole day
- made up of 100,000 couplets
- “Great Epic of the Bharata Dynasty”
- has a central heroic narrative
-about two families: The Pandavas and Kauravas who were in battle for the throne of Hastinapura in the Kurushetra War.
- considered a text of both dharma (Hindu moral law) and a itihasa (literally means “that’s what happened; aka “the history”)
- about the development of hinduism

Question 7

Bhava

Answer 7

The actor’s embodiment of a character’s state of mind/being/doing. A key element of Indian aesthetic theory.

4 types of Bhavas:
1. Sthai Bhava (Primary Emotion): the emotion which can not be hidden
2. Vibhava (The Causing Emotion): the cause of any emotion arising or being highlighted
3. Anubhava (Nuanced Emotions): The smaller nuances of Sthayi bhava that add to it.
4. Sanchaari (Transitory Emotion): The emotion that carries the Sthai Bhava to the audience.

Question 8

Abhinaya

Answer 8

The art of expression in Indian aesthetics. It means: “leading an audience towards” the experience (bhava) of sentiment (rasa).
- to carry the spectator towards the meaning
- communication with the audience
* abhi- towards
* naya- to carry
4 types:
1. Angika (Face and Movement)
2. Vaachika (Dialogue and Lyrics)
3. Aaharaya (Costumes)
4. Sathvika (Subtle articulation of emotional states)

Question 9

four types of abhinaya

Answer 9

1. Angika Abhinaya: conveying meaning through body movements and facial expressions.
2. Vacika Abhinaya: expression through speech (poems, lyrics and dialogue).
   - ability to use correct language and deliver dialogue
3. Aharya Abhinaya: expression through costumes and appearance
   - Rangabhusa: make-up and costumes, ornaments, etc
   -Patra: the dancer-actor
   - Nepathya: the stage props and decor.
4. Sattvika Abhinaya: experession from within (feelings and emotions)
   - considered the most difficult to master

Question 10

Kutiyattam

Answer 10

Oldest living theatrical production
- performed at Kutiyattapalam
A style of staging late-Sanskrit drama that originate in the Indian state of Kerala. (taking place in a temple architecture)

Question 11

Rasikah

Answer 11

The audience

Question 12

Sanskrit Drama

Answer 12

An umbrella term for Sanskrit and Pakrit language theatre practices from 300 BCE in what is now India.