Editing Aspects of Bharata’s Natyashastra in Bhāgavatamelā Natakam of Melattur

''Bhāgavatamela Nāṭakam'' of Melaṭṭur village, is a dance drama which is presently found in Tamilnadu area. 

== '''History and development''' ==
''Bhāgavatamela Natakam'' was under the patronage of Vijayanagara Karnāṭa dynasty' Nayaka King Acyutappa Nayaka in the 16<sup>th</sup> Century. The present day Melaṭṭur formely known as Achyutapuram after the patron was donated to 510 Brahmin families to propagate the art.

Sri Narayana Teetha Yati who was an ascetic and scholar composed ''Sri Krishna Leela Tarangini'' - an opera suitable for dance drama. He enriched the ''bhajana sampradāya'' where his followers sang, danced and presented the play.  Further it was flourished by Gopālakriṣṇa Shastri, father of Venkataramaṇa Shastri. Venkataramaṇa Shastri who was a great scholar formed a ''nātya melam'' with only men and female roles were also portrayed by men. He adhered to the principals of drama traditions of those days and composed many dance dramas which had themes from ''Srimad Bhāgavata Purāṇam'' (hence the name ''Bhāgavatamela Nāṭakam''). The most popular one amongst these was ''Prahlāda Caritam'' performed on ''Narasimha Jayanti'' in the precincts of Sri Varadaraja Perumal temple.

== '''Technique and tradition according to ''Nāṭyaśāstra''''' ==
The technique of ''Bhāgavatamela Natakam'' incorporates all the three aspects of drama as expounded in ''Bharata''’s ''Naṭyaśāstra'' treatises i.e., ''Nṛtta'' (pure dance), ''Nṛtya'' (expressional dance) and ''Nāṭya'' (drama).

''Bhāgavatamela Natakam'' is one such theatrical tradition with regional variation -''desi'', the structure of which can be seen stemming from ''Bharata’''s ''Naṭyaśāstra''. Apparently, this can be seen in its form, preliminaries (''pūrvarangavidhi''), overture (''upavahana''), darus (''dhruva'' songs)<ref>Darus - Dhruva songs of Natyashastra- “The reason these songs are referred to as Dhruvas is because they anchor, or creates a framework of the production, and their themes have a set significance, as Abhinavagupta clearly explains”  Microsoft Word - Prof. Ranjani S. ror Dec 2022 (lbp.world)</ref>, the pattern of staging, the narratives (''praveśikas'') and the theme.

One of the finest examples of ''Bhāgavatamela Nāṭakam'' - ''Prahlāda Caritam'' is the most frequently produced play. This play demonstrates the triumph of faith and devotion over evil. One can observe that amongst the 10 kinds of play (''Daśarūpa - Nāṭaka, Prakaraṇa, Anka, Vyāyoga, Bhāṇa, Samavakāra, Vīthī, Prahasana, Ḍima'' and ''Īhāmṛga'') mentioned in ''Naṭyaśāstra'' this play has a few aspects which are very close to the ''Nāṭaka'' type as mentioned in chapter 20 Daśarūpalakṣanam.

Though the ''Nataka'' format as expounded by ''Bharata'' in ''Naṭyaśāstra'' has undergone changes over the centuries, comparison with every aspect of ''Lakshana'' with the existing tradition cannot do justice to the form.  

''Bharata Muni'', in ''Naṭyaśāstra,'' has explicitly said that the ''Śāstra'' should be expanded upon to include theatrical experimentation (''prayoga'') and conceptions of time. As a result, rather than being a set of predetermined concepts and instructions, it is an organic, living and traditional book in aesthetics and performing arts.    

In the traditional format of ''Prahlāda'' ''Caritam'' as is performed to this day, it presents the story as mentioned in ''Srīmad Bhāgavatam''. Canto Seven which begins with how ''Jaya'' and ''Vijaya'', the ''dwarapala-s'' (door keepers of ''Vaikunta'') were cursed by the four ''Sanathkumaras'' and ends with ''Mahārāja Yudhiṣṭhira,'' who was wonderstruck on hearing that ''Kṛṣṇa'', his cousin, is the Supreme Personality of Godhead<ref>This is closely related to the tradition of ''Yakshagana'' from Andhra and Karnataka. In the Karnataka tradition the ''Yakshagana'' has a similar ''Prasanga'' (act) known as ‘''Trijanma moksha''’ where the act starts with Sanathkumara’s curse to ''Jaya Vijaya'' and ends with Lord Krishna killing ''Muśhtikāsura'' and ''Cānura'' – oral documentation from research writer Dr Manorama B N.</ref>.

Hence ''Prahlāda Caritam'' which is just a small part of the main plot, it can be assumed as an elaboration of ''anka'' (act) of the ''Naṭaka'' where Lord Vishṇu is the ''Nayaka'' (''Dhīrodātta'' - hero who is self-controlled and exalted ''Naṭyaśāstra'' Chapter 34), of the main plot. As a result, this theory can be established through the following reasoning:

== Adoptation of ''Vr̥tti''s (Styles) ==
''Naṭyaśāstra'' (chapter 20, Verse 7) says that the ''Nāṭaka'' and ''Prakaraṇa'' are known to be made up of all the styles or ''vr̥ttis'' and they include varieties of situation.

'''ज्ञेयं प्रकरणं चैव तथा नाटकमेव च ।'''

'''सर्ववृत्तिविनिष्पन्नं नानाबन्धसमाश्रयम् ॥'''  

The dramatic styles or ''vr̥ttis'' referred to by Bharata are ''bhāratī'' (verbal), ''sātvatī'' (grand), ''ārabhaṭi'' (energetic) and ''Kaiśiki'' (graceful). Most part of the drama carries on through verbal medium. The dialogues between the characters interspersed with song in the form of compositions, couplets, verses and other forms of musical compositions forms ''bhārati vrtti''. For instance: conversations between ''Hiranyakaṣhipu'' and ''Śukracārya'', ''Liīāvati, Prahlāda'' and finally Lord ''Narasimha''. With graceful rhythmic cadences of feet and hand gestures ''Līlāvati'' and ''Bhūdevi''’s dance (''daru'' song), the ''Kaiśiki Vr̥tti'' comes to the forefront. ''Ārabhaṭi'' ''vr̥tti'' is seen during confrontation scene between ''Hiranyakaṣhipu''  and Lord ''Narasimha''. The ''Sāttvati Vr̥tti'' is established in ''Hiranyakaṣhipu’s'' agitated emotions with excessive body movement.

== Pattern of Play ==
Sage ''Bharata'' further states that ''Nāṭaka'' should have a well – known story for its subject matter, a celebrated person of exalted nature for its Hero. It should describe the character of a person born in the line of royal seer and protected by the Divine. It should have suitable number of acts (''anka'') and narratives which cannot be presented on stage (''prāveśaka'').

'''प्रख्यातवस्तुविषयं प्रख्यातोदात्तनायकं चैव । राजर्षिवंश्यचरितं तथैव दिव्याश्रयोपेतम् ॥ (Verse 10)'''

''Prahlāda Caritam'' is a very popular story of ''Prahlāda''’s unshakeable faith in the omnipresence of the Lord which resulted in the Lord appearing to him from within the pillar as ''Narasimha'' to protect him from his father’s fury. 

'''अङ्कप्रवेशकाढ्यं भवति हि तन्नाटकं नाम ॥ (verse 11)'''

''The theme is organized in acts called ankas which are about 10 in this Play.''

'''अङ्कच्छेदं कृत्वा मासकृतं वर्षसञ्चितं वापि |'''

'''तत्सर्वं कर्तव्यं वर्षादूर्ध्वं न तु कदाचित् ॥ (verse 28)'''

''By closing the Act in which they begin, events of duration not more than a month or a year are to be presented similarly.'' (Meaning interval between two acts should include events requiring a month or a year only)

The scene that is chosen for play elaborates only on the climax of the story where his extreme hatred towards the Lord results in his death.

'''नायकदेवीगुरुजनपुरोहितामात्यसार्थवाहानाम् ।''' 

'''नैकरसान्तरविहितो ह्यङ्क इति स वेदितव्यस्तु ॥ (verse 18)'''

It should be known that an act is to contain more sentiments than one arising from (words and deeds of) of the Hero, his queen and their superiors, priest, minister and leader of the caravan (''sārthavāha'').

== Manifestation of ''Rasa''s ==
Some of the Rasas that can be identified in this play are: ''Karuṇā'' (pathos) in the act where ''Lilāvathi'' sympathises with her son ''Prahlāda'' who had to face the wrath of his father’s fury. ''Raudra'' when Lord ''Narasimha'' emerges out of the pillar as a half man and half lion creature. ''Bhayānaka rasa'' when ''Prahlāda'' gets terrified seeing the Lord. ''Vira rasa'' when ''Hiranyakaṣipu'' boasts himself as the supreme lord of the universe. ''Bhībatsa'' (disgust) when ''Hiranyakaṣhipu''’s stomach is ripped open, though not depicted but narrated.

'''क्रोधप्रसादशोकाः शापोत्सर्गोऽथ विद्रवोद्वाहौ ।'''

'''अद्भुतसम्भवदर्शनमङ्के प्रत्यक्षजानि स्युः ॥ (verse 19)'''

According to verses 19, 20 and 21, the pacification of anger, grief, pronouncing curse, terrified fight, marriage ceremony, commencement of any miracle and its actual occurrence, a battle, loss of a kingdom, death and siege of a city should not be presented on stage.

In ''Prahlāda Caritam'' the demon King’s rage knew no bounds when his attempts to dissuade ''Prahlāda'' from worshipping Lord ''Viṣnu'' went futile. Various diabolical means to kill the boy like trampling him underfoot by an elephant, throwing him over a precipice, fire, snakes are shown symbolically.

== Scenes and Settings ==
Following the ''Nāṭyaśāstra'' tradition, scenes of death and war are narrated. The killing of ''Hiranyakaśipu'', the ripping open of his stomach are not depicted. The king is vanquished symbolically in this play.

'''ज्ञात्वा दिवसावस्थां क्षणयाममुहूर्तलक्षणोपेताम् ।'''

'''विभजेत्सर्वमशेषं पृथक्पृथक्काव्यमङ्केषु ॥ (verse 26)'''

Bharata says “''Knowing the length of the day which is divided into kṣanas, Yāmas and Muhurtas, one should distribute exhaustively the entire action in different acts''”.

Accordingly, we find the scenes of ''Guru Śukracharya''’s conversation with ''Hiranyakaṣhipu'', the ''Gurukula'' scene, the attempts of the demon king in deflecting ''Prahlāda'' from the path of devotion towards Lord Vishnu, Lord ''Narasimha'' Killing ''Hiranyakaṣhipu'' - all these events happening on different days and time is shown in different acts.

'''अथवा पुस्तकृतानि तु गजवाजिविमानशैलयानानि।'''

'''कर्तव्यानि विधिज्ञैस्तथा चाद्रव्यप्रहरणानि । (verse 42)'''

But model works of an elephant, a horse, a palace, a hill, any conveyance as well as (imitation) weapons out of cheap materials are to be made for a presentation of these by those who know the rules (for their construction).<ref>Sage ''Bharata'' discusses ''Āhārya'' in Chapter 21 ''Nepathya'' of ''Natyaśāstra''. Costumes and Make-up are of four kinds: model work (''pusta''), decoration (''alankāra''), painting the limbs (''aṅgaracanā'') and [the use of] living creatures (''sañjīva''). 

Mountain, vehicles, aerial chariots, shields, armours, flagstaffs, trees etc; which are made for the use of the performance of drama belong to the class of models” (Unni 2014, 1044). Aharya_of_the_two_Classical_Dance_forms_of_North.pdf (sangeetgalaxy.co.in)</ref>

The weapons like sword and mace, the palace, pillar, snake are some of the props used here which are made of lighter materials like paper (hardboard), cloth, rubber (in the present context).

== Music ==
Dr. R. Mahalingam observes: “For those who love classical dance, ''Bhāgavatamela'' is a feast for the eye. For those who love music, ''Bhāgavatamela'' has classical Carnatic as its best. For those who love drama, ''Bhāgavatamela'' is a living link to our ancient heritage of theatre as laid down in ''Bharatha‘s'' ''Naṭyaśāstra''. Thus, ''Bhāgavatamela'' is a unique blend of spiritualty, dance, drama and chaste classical music”.<ref>Bhagavata mela dance-drama of Bharata Natya | INDIAN CULTURE</ref>



While many elements from the ''Nātya'' type as mentioned in ''Naṭyaśāstra'' has scarcely survived, its relevance can be seen even today in forms like ''Yakshagana'', ''Terukoothu'' and ''Bhagavata Melanatakam.''
 


'''Reference:'''

1.''Bhāgavata Mela Nataka-'' pdf https://www.sahapedia.org/

2. ''Bhāgavata Mēḷa Nāṭakam'', a Traditional Dance-Drama Form on JSTOR, page 195.

''3. Mahamuni Bharata,'' Dr Manorama B N, 2014, Shree Bharati Publications, Bangalore.

''4. Melattur Annual Bhagavata Mela'' 2017 | ''Natya Vidya Sangam'' | Natya Natak Utsav | Day.1 | Live - YouTube. 

5.  ''Melattur Bhagavata Mela Natakam Prahlāda Caritam''  - Melattur S Natarajan's troupe - YouTube private video.

6. Microsoft Word - Prof. Ranjani S., Dec 2022 (lbp.world).

7. ''Naṭyaśāstra'' – Sanskrit Text with Romanized Text, commentary of ''Abhinava Bharati'' by ''Abhinavaguptacharya'' and English translation by Pushpendra Kumar.

8. Oral documentation from Dr Manorama B N- ''Śāstraranga'' Internship programme offered by ''Noopura Bhramari.''<ref>https://www.noopurabhramari.com/</ref>

9. Oral documentation of audio recording of Dr Pratibha Satyanarayana as part of ''Śāstraranga'' Internship offered by ''Noopura Bhramari''<ref>https://www.noopurabhramari.com/category/academic-courses/</ref>.

10. ''Sanskrit Drama: Theory and Performance'' on V Raghavan.


'''Authored by - Rohini Manjunath A R, Bengaluru; ; Published by Noopura Bhramari IKS Centre- titled as '<nowiki/>''Aspects of Bharata’s Natyashastra in Bhāgavatamelā Natakam of Melattur'<nowiki/>''–'''<ref>https://www.noopurabhramari.com/aspects-of-bharatas-natyashastra-in-bhagavatamela-natakam-of-melattur/</ref>''', As a part of ''Śāstra ranga'' Fellowship/ Internship programme.'''
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