The Natya Shastra of Bharatamuni, translated into English
Bharatamuni
The Natya Shastra of Bharatamuni, translated into English - 3rd revised - Delhi Sri Satguru Publications 2014 - XXIV,620 Pp - Raga Nrtya Series 2 .
The present work consists of 36 chapters. Bharata divides the work broadly into four sections based on abhinayas or modes of conveyance of the theatrical pleasure, called rasa, is pure and differs from the pleasure we derive from the actual contact with the objects of world which is always mingled with pain, these modes of abhinaya are four, 1) Sattvika conveyed by the effort of mind,2) Angika or the natural movement of the organs when any thought is expressed or conveyed, 3) Vacika, the delivery through expression and 4) Aharya, the dress, attached great importance to the first of these modes and deals with it in chapters 6 and 7. Expressions of feeling is conveyed to a strangers only by gestures or through the organs of speech. Hence Angika abhinaya comes next and is dealt with in chapters 8th which extends over chapters 14 to 20. Then comes Ahraya, i.e. dress and scenic aplliances and mutual conduct or movements on the stage along with the musical auxilaries behind the stage to intensify the emotional effect produced on the stage. The fourth the commencement of the actual drama. Chapter 35 and 36 are supplementary and deal with the qualifications and behaviour of the actors and actresses on the stage and how the theatrice descended from Heaven to Earth. The present translation includes critical notes and an index of the terms.
8170301343
891.2209 B4694 N / 300753
The Natya Shastra of Bharatamuni, translated into English - 3rd revised - Delhi Sri Satguru Publications 2014 - XXIV,620 Pp - Raga Nrtya Series 2 .
The present work consists of 36 chapters. Bharata divides the work broadly into four sections based on abhinayas or modes of conveyance of the theatrical pleasure, called rasa, is pure and differs from the pleasure we derive from the actual contact with the objects of world which is always mingled with pain, these modes of abhinaya are four, 1) Sattvika conveyed by the effort of mind,2) Angika or the natural movement of the organs when any thought is expressed or conveyed, 3) Vacika, the delivery through expression and 4) Aharya, the dress, attached great importance to the first of these modes and deals with it in chapters 6 and 7. Expressions of feeling is conveyed to a strangers only by gestures or through the organs of speech. Hence Angika abhinaya comes next and is dealt with in chapters 8th which extends over chapters 14 to 20. Then comes Ahraya, i.e. dress and scenic aplliances and mutual conduct or movements on the stage along with the musical auxilaries behind the stage to intensify the emotional effect produced on the stage. The fourth the commencement of the actual drama. Chapter 35 and 36 are supplementary and deal with the qualifications and behaviour of the actors and actresses on the stage and how the theatrice descended from Heaven to Earth. The present translation includes critical notes and an index of the terms.
8170301343
891.2209 B4694 N / 300753