Editing Origin of Theatre

''Nāṭyaśāstra''<ref>https://sanskritdocuments.org/iast/natyashastra/<nowiki/>https://archive.org/details/NatyaShastra/natya_shastra_translation_volume_1_-_bharat_muni/</ref> – the foremost compendium on Indian Dramaturgy forms the basis of performing arts practiced across the country.  The root of the Sanskrit word ''Nāṭya'' is Nat which means “act”. The word ''Śāstra'' means, “a sacred precept, rule, scriptural injunction, manual, compendium, book or treatise”.  The word ''śastra'' is used in the context of Indian literature, for any department of knowledge or science, in a defined area of practice. ''Bharata'' in ''Nāṭyaśāstra'' describes the performing art in the form that was in practice in his times''. Nāṭyaśāstra'' deals with diverse themes associated with Indian Dramaturgy. Besides theatre, ''Nāṭyaśāstra'' also lays down guidelines to stagecraft, dance and music, poetry. ''Nāṭyaśāstra'' elucidates the practical aspects of drama without giving much emphasis on its philosophical or theoretical aspect. This mode of communication is called ''Kantā sammita''.

The scope of drama lies in the following verse where sage ''Bharata'' says:

'''''Na tajnanām na tacilpam na sā vidyā na sā kalā'''''

'''''Nāsau yōgō na tatkarma nātyesmin yanna driśyate'''''

(''Nāṭyaśāstra'', Chapter 1, verse 116)

There is no wise maxim, no learning, no art or craft, no device, no action that is not found in the drama.

The treatise begins with an invocation to Lord ''Brahma'' and Lord ''Śiva'' in the ''mangala śloka''. Though the author has overlooked Lord ''Vishnu'' in the ''mangala śloka'', he cites Him as the originator of ''Kaiśiki Vritti''.   Further, the great rishis like ''Ātreya'' and others approach Sage ''Bharata'' who was well versed in ''Naṭya'' and pose five questions about the origin of ''Naṭya''. The answers to the questions form an elaborate dialogue between Bharata and other sages led by Sage ''Ātreya''. Sage ''Bharata'' elucidates the theatrical aspects and its application in the form of six thousand verses (5569 to be precise) in 36 chapters.

The first chapter ''Naṭyotpatti'' involves the narration of the story where at the onset of ''Tretayuga'' when the people were governed by ''Ariṣaḍvarga'' or the six enemies of the mind, Devas lead by ''Mahendra (Indra)'' as their leader approached ''Brahma'' requesting him to provide them with an entertainment medium which is both audible and visible and that which can be experienced by all classes of people including ''Shudra-s''.

According to ''Brhadaaranyaka Upanishad'' <ref>[https://archive.org/details/Brihadaranyaka.Upanishad.Shankara.Bhashya.by.Swami.Madhavananda Brihadaranyaka Upanishad - Shankara Bhashya translated by Swami Madhavananda : Swami Madhavananda]</ref>(Chapter 1, Brahmana 4, Verse 13)

'''''Sa naiva vyabhavat sa śaudram varnamasrujat pūṣaṇami; iyam vai pūśā, iyam hēdam sarvam puśyanti yadidam kiṁcha'''''

He (''brahmana / brahman'') did not still flourish - He projected the ''Sudra'' - as ''Pūshan'' (as nourisher). This earth verily is ''Pūshan'' (the nourisher); for the earth nourishes all this whatsoever.

Hence, besides being a class that provides food through agriculture, ''shūdra'' is also understood as the class which supports the other three classes of people (providing services to other classes itself is his job / ''karmavritti'').

Then ''Brahma'' in his meditative state recalls the four Vedas, compiles them and creates the fifth Veda which has ''itihāsa'' (historical tales), which conduces to duty / ''dharma'', wealth or ''artha'', as well as fame, which contains good counsel and collection of maxims, and gives guidance to all future generation in all their actions. They would be enriched by the knowledge of all ''śāstra''-s (authoritative works) which gave reviews of all arts and crafts (''śilpa'')”.

According to ''Panini’''s ''Aṣtādhyāyi''<ref>https://archive.org/details/in.ernet.dli.2015.22683</ref> the word ''śilpa'' mentioned here is not restricted to the handcrafted – metal – idol making skills but includes music, dance and theatre. It includes sixty our art forms / all kinds of artform.<ref>Devālaya śilpagala Nāṭyamānyate by Dr B N Manorama, page 3, (2023) Published by [https://www.noopurabhramari.com/want-to-subscribe-noopura-bhramari-and-purchase-the-dance-books/ Noopura Bhramari] IKS Centre.</ref>. The ''Kaushitaki Bhramana''<ref>https://archive.org/details/in.ernet.dli.2015.344865</ref> includes vocal music, dance and musical instruments in its fold. ''Ramayana, Mahabharata and Kamasutra'' also include other forms while mentioning its scope. Further in this period all the artforms integrated in drama<ref>Devālaya śilpagala Nāṭyamānyate by Dr B N Manorama, page 4, (2023) Published by [https://www.noopurabhramari.com/want-to-subscribe-noopura-bhramari-and-purchase-the-dance-books/ Noopura Bhramari] IKS Centre.</ref>.

''Naṭyaveda'' thus created consisted of ''Paṭya'' - the text taken from ''Ṛgveda, geeta'' - music from ''Sāmaveda'', ''Abhinaya'' – histrionic representation from ''Yajurveda'' and ''Rasa'' - aesthetic experience from ''Atharvaṇaveda. Ṛgveda Samhita''<ref>https://archive.org/details/OhON_rigveda-samhita-damodar-satavalekar</ref> is in the form of hymns which forms the basis for any composition. All the features of classical poetry also can be traced to the ''Ṛgveda''.  The ''Sāmaveda'' is the Veda of melodies and chants. ''Yajurveda'' is a compilation of ritual-offering formulas that were said by a priest while an individual performed ritual actions such as those before the sacrificial  fire (Yagna). Both the priest and the performer employ hand gestures.  ''Atharvaṇaveda'' is the ''Veda'' which is related to both worldly happiness and spiritual knowledge. It is a ''Veda'' of varied knowledge. Hence it is filled with lots of emotions / bhava and life energy / rasa.

This fifth ''Veda'' was then passed on by ''Brahma'' to ''Indra'' who in turn passes it on to Sage ''Bharata'' as the ''Nāṭyaveda'' could be brought into practice only by those who are able to receive, sustain, become acquainted with and practice (inured to hard work).  These are also the criteria for a ''Naṭa'' (actor / dancer) who follows the tradition to this day. On ''Brahma''’s instructions ''Bharata'' learnt ''Nāṭyaveda'' from Him and taught his 100 sons the application of the same.

On a close analysis we find that 104 names are mentioned which include the names of ''Ṛshis, Rākṣasās,'' gods, ''gaṇās'', names of ''Rasas'' (eg. ''Bheebhatsa, Veera'' etc) and authors (''Kohala, Dattila'' etc). This also indicates that the art permeated across all classes of people.<ref>Oral documentation (in [https://www.noopurabhramari.com/category/academic-courses/ Śāstra Ranga] Programme) from the classes by Dr Manorama B N</ref>

''Bharata'' then assigned various roles to his sons and adopted ''Vrittis'' (dramatic styles) – ''Ārabhaṭi'' (energetic), ''Bhārati'' (verbal) and ''Sātvati'' (representation of the temperament) to perform. Further on Brahmas instructions ''Kaiśiki'' (graceful) was introduced which led to the creation of twenty four ''Apsaras'' or celestial nymphs.<ref>https://www.noopurabhramari.com/natyashastrakathanamalike-apsara-srishti/</ref>

The etymology of ''Apsara'' is अद्भ्यः सरन्ति उद्गच्छन्ति, सृ-असुन् i.e.,"moving in the waters or between the waters of the clouds".

''Apsara-''s are the epitome of grace and hence it is expected of a dancer to be as graceful as the   creatures in the water which is swift / agile.<ref>Oral documentation (in [https://www.noopurabhramari.com/category/academic-courses/ Śāstra Ranga] Programme) from the classes by Dr Manorama B N </ref>

''Bharata'' then presented the play in the festival (''Indradhwaja mahōtsava'') in honour of ''Indra''’s victory over ''dānavas''. This play was an imitation of the situation in which ''daitya''s were defeated by Gods.  The Gods were filled with joy and presented him with various rewards (which are used as props in the theatre).<ref>Nāṭyaśāstra Kathana Mālike series (8 Episodes) authored  Dr Manorama B N, published at [https://www.noopurabhramari.com/natyashastra-kathanamalika-part-1/ Noopura Bhramari]</ref> One such example is the ''Kuṭilaka'' – a crooked staff presented by Lord Brahma which is used by the ''sūtradhāra'' in dance dramas even to this day in Yakshagana and Bhagavatamelanataka.<ref>https://www.noopurabhramari.com/aspects-of-bharatas-natyashastra-in-bhagavatamela-natakam-of-melattur/ Authored by Rohini A R</ref> The instigated malevolent spirits at once paralysed the speech and movement of the actors with their magical powers. ''Indra'' ascertaining the cause of this, punished the ''asurās'' with his ''vajrāyudha.'' This act of smashing the asuras to pulp with the weapon is known as ''Jarjara'' and hence the weapon gets its name.

According to the ''Nāṭyaśāstra'' Chapter 1, Verses 73-75, “The jealous Vighna''-s'' too who may come to do violence to actors will go away on seeing the Jarjara.” The offering of ''pūjā'' to the Jarjara should commence after the worshipping of the various gods and the various musical instruments (''kutupa'').

According to the ''Nāṭyaśāstra'' Chapter 1, Verse 11-13, the ''nāṭyācārya'' (master of the dramatic art) should offer ''pūjā'' to the ''Jarjara'' for attaining good success at the performance, and pray to it as follows “Thou art Indra’s weapon killing all the demons; thou hast been fashioned by all the gods, and thou art capable of destroying all the obstacles; bring victory to the king and defeat to his enemies, welfare to cows and Brahmins, and progress to dramatic undertakings”.

Performing the ''Jarjara'' ceremony (preliminary) pleases the leaders of ''Vighnas'', according to ''Nāṭyaśāstra'' Chapter 1, Verse 57-58, “The performance of the preliminaries which means worshipping (''pūjā'') the gods (''devas''), is praised by them (''i.e''., gods) and is conducive to duty, fame and long life. And this performance whether with or without songs, is meant for pleasing the ''Daitya''-s and the ''Dānava''-s as well as the deities.”

Then Lord ''Brahma'' instructed ''Viśvakarma'' to build a playhouse (Theatre space) and with the help of other gods the playhouse was protected. Various deities became guardians of various parts of the playhouse. Meanwhile ''Brahma'' also pacifies the ''vighnā-''s by explaining the characteristics of drama saying that in drama there is no exclusive representation of either gods or demons. It is a representation of the states (''bhāvānukīrtana'') of the three worlds. There are references to money, duty, laughter, fight etc. It is a mimicry of actions and conduct of people. It addresses various departments of arts, knowledge and action etc.

The chapter concludes with ''Bharata'' elucidating the importance of performing pooja to the ''Ranga devatas'' deities of theatre / playhouse.


'''Authored by - Rohini Manjunath A R, Bengaluru; 'Origin of Drama/Theatre in Indian perspective' ; Published by [https://www.noopurabhramari.com/origin-of-drama-theatre-indian-perspective/ Noopura Bhramari] – An IKS Centre, As a part of Śāstra ranga Fellowship/ Internship programme.'''

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