History of Natyasastra

From the beginning through the classical ages, and to later and modern times when we still have the surviving traditional theatres of the different regions of India, the drama has been this same composite art-a total theatre. Natya or theatre, is also the mother of the other visual arts, as the Visnudharmottara says (1.3.2-3) it is on the states of beings in different moods and the consequent attitudes and poses as seen in Natya, the comprehension of both sculpture and painting is based, a piece of sculpture or a drawing being the artist’s capture of a moment in the moving sequence of Natya.

The first source is of course the Natyasastra of Bharata, composed or rather compiled around the second century A.D. In thirty six chapters it contains much information regarding various aspects of staging like theatre, instruments, acting, actors, assessment of performances, colours, ornaments and so on.

The commentaries on the Natyasastra are the second source regarding the staging of plays. In this respect of Abhinavabharati of Abhinavagupta is the major source, the other commentaries having been lost in the oblivion.

The third source regarding ancient theatre is from Sanskrit dramas themselves wherein the authors have often supplied indications how to enact various scenes.

Ancient sculptures obtaining in temples provide some information on the various aspects of the play. Some of these sculptures are carved with details regarding the dress, crown, ornaments etc. For instance, Bharata has prescribed Pratisira particular head-dress for dramatic characters.

It is against this background that one has to deal with the regional theatres that are in fact the living tradition of the Natyasastra. These include the Kutiyattam of Kerala, Ankiya Nat of Assam, Kathakali, Kuchipudi, Rasalila and Yaksagana all of which have the Snaskritic elements in them.  (jacket)