Theatre of India


Terms in this set (...)

Santana Dharma
the "eternal religion" of Hinduism
three major gods of hinduism
bhrama, shiva, vishnu
creator god
destroyer god
preserver god
incarnation of gods
characterized by a belief in reincarnation and a supreme being who takes many forms, karma, achieve peace of mind with nirvana
successive reincarnations occur until
nirvana is achieved
the mahabarata
18 books, 1.8 million words, no authoritative text, includes the bhagavad gita, contains conversations between Pandava prince Arjuna and his guide Krishna on many philosophical issues, arjuna imparts doctrine of selfless actions
two struggling families in the mahabarata
kaurvas and pandavas
7 books, 50,000 lines of verse, multiple versions, chronicles Rama's major life events, Sita abducted by demon and rescued by monkey king, depicts ideals f human relationships/behavior
author of Ramayana, first poet
divine sources of drama
brahma conceived that drama give enlightenment through pleasure to both humans/gods
brahma wrote a fifth veda on
dramatic theory and stage practice
the fifth veda was passed to humans in the form of
the natyasastra (the treatise of drama)
the natyasastra
by the first actor/playwright Bharata
Shiva also brought
dance into the theatre
vishnu gave indian drama
diverse characteristic styles
vishnu is often compared to
dionysus because he would immerse himself in the earth for four months after which his resurrection would be marked by rituals and theatrical celebrations
tenets of sanskrit drama
represents all classes, depicts all aspects of life (war to sexuality), educates and offers guidance, rasa (emotional state or mood), all end happily, mix of text and prose, over one hundred stock characters, death and violence not on stage, a play may have one to ten acts, play's location range from heaven to earth, ten genres of drama (heroic and social are most important)
the 8 rasas
love, laughter, fury, compassion, disgust, horror, heroic, wonder
three new rasas
peace, parental love, spiritual devotion
Sanskrit Drama
formal drama of court until muslim arrived in India
two categories of sanskrit
nataka (traditional mythology) and prakarana (less exalted character)
The Little Clay Cart
written by sudraka, genre is prakarana, rasa is erotic, dominant themes are forgivness and mercy
the recognition of sakuntala
author is kalidasa, nataka, rasa is erotic
sanskrit acting
vocation, men and women partake, specialization in roles, actor-managers are male, non-realistic, rigorous training (special diet, full body massages, yoga, dance postures, etc.)
dance-drama, combines dance, music, acting, katha (story) kali (dance), intricate movement, hand movement (mudras) facial movement (bhava)
kathakali performance
outside, all night, use percussionists, two vocalists, actor/dancers, makeup and costume indicate character, intense training (martial arts), no spoken dialogue, all men until 70s
makeup colors (green, red, yellow)
noble characters, villains, women,
kathakali oil lamp
represents the presence of God