Natyanushashanam (Fresh treatise on Dramaturgy)

Description

Natyanushashanam (NS) is a fresh treatise on Sanskrit Dramaturgy written by Rewa Prasad Dwivedi (RPD) in 5 Chapters (413 Karikas). In all the five Chapters of Natyanushashanam, RPD has presented practical solution of number of questions raised in modern times regarding theories on dramaturgy established by ancient Acharyas like Bharatmuni, Dhananjaya, Dhanika etc.

In the first Chapter Natyanushashanam (NS), Rangapitha is classified into two categories viz. Brahma and Vaishnava (NS 2-3). It is named as Brahmapitha because it exists in the womb of the Akshrabrahma. It can be called Muktapitha or Digambarapitha as lord Shiva (Digambara) performs Tandava on it. Unlike Brahmapitha the Vaisnavapitha is covered with Bhitti and Mandapa. It remains stable at one place and requires a number of external elements for its evolution. On the basis of different Mandapas it is further divided into three categories namely – Vikrsta, Caturasra and Tryasra.

RPD prefers to respect new theories liberally. The soul of Indian people is immortal as their past gives proper honor to its present. Whatever we attain from generations falls in the category of past. None of the people wish to abolish its own past tradition that solely provides him an identity. It is, therefore, the duty of all the scholars that they shall preserve their tradition and at the same time give due importance to theories evolving in the present day (NS 36).

The means of visibility shall be categorized as Natya wherein division of visible and non-visible exists exclusively and is not mixed together as is done in certain western dramas. This is the theory found dominating the entire philosophy of drama of even Bharatamuni (NS 39). All the art forms shall positively be grounded on Dharma. If we relate them with Artha they will deteriorate in the course of time just as the Artha vanishes gradually. The aim of the art is to fulfill the heart of Sahridaya with gaiety and joy.     

In the second Chapter entitled Bhratadarshanam RPD has explored philosophy behind Natya instead of Karmakanda that has been dominating in it since long. In his view, scholars of the present day give importance to history instead of logic behind any new theory. They do not appear to be logically inclined to improve the inherent qualities of any particular discipline of knowledge by means of providing fresh theories to it. Indians have always honored the flow of knowledge, combined with the mixture of old and new theories propounded from time to time to enrich any specific field of study.  RPD says that the Natyamandapa of Bharata is mainly aimed at providing the existence of Preksakasannivesa, Rangapitha and Nepathyagrha.

In the third Chapter entitled Natyasharirakam absolutely fresh and logical thoughts about Awastha, Arthaprakrti and Sandhi have been presented. In the main plot of a drama both the types of secondary plots shall mix up in the way tributaries mix up with the main river. Unlike Dhananjaya, the writer of Dasharupaka, RPD observes that both the types of secondary plots – Pataka and Prakari, shall essentially be included in a drama for the development of the main plot, but the sources of both shall be different from that of the main plot.

In the fourth Chapter entitled Kalasamadhi the word Samadhi represents the meaning of Patanjala Yogasutra. Natya has the supreme ability to carry Sahrdaya to the stage of Samadhi because it is combined with a number of other arts like dance, music, painting etc. The soul of a spectator completely settles down in it because it is the symbol of the stage of complete joy.

In the fifth Chapter Rasabhoga (RB) number of revolutionary theories has been discussed regarding entire process of the soul of Sahrdaya, reaching the stage of supreme charm by means of visualizing a peace of art.

Every critic and the writer of the history of Sanskrit poetics have believed since long that Abhinavagupta falls to be the last in the chronology of Acaryas involved in defining Bharata’s Rasasutra on different philosophical grounds. RPD discards this belief and provides historical and logical arguments to establish the fact that amongst these four Acaryas Bhattanayaka is the last and his theory Bhuktivada is the ultimate.

Whatsoever is considered to be impure in the peripheries of life transforms into a pure element once it reaches the stage of Natya. Thus, in Natyakala even the serpent around the neck of Lord Shiva transforms into Shiva himself and not a creature intending to split venom (RB 20). Rasa is nothing else but the soul of a Sahridaya engulfed with these Bhavas (RB 39).

Despite having every constituent of an artistic expression false, it results ultimately in the generation of supreme delight in the mind of a spectator. The spectator too dissolves in it with its full ability and reaches the stage of Samadhi (RB 58).

Thus, we see that in Natyanushasanam the author applies philosophical attitude towards the expression and defining of an artistic form. The theories propounded in this treatise are applicable to all the artistic forms of the present day since they are based on age long tradition and are representing the present day requirements of their performance.