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28
QANDALEHA
e) BATTAKA IN THE EVOLUTION OF DRAMA The treatises on dramaturgy elaborately describe Nātaka first, and subsequently they just note in what respects the other types are similar to or different from it. This does not mean that all other types are just the variations of and derived from Nāțaka. The theorists adopt this procedure for convenience of treatment. They are not presenting these types and sub-types according to their historical evolution: perhaps they never had such an approach in view. They have conveniently classified the information and presented the topics in a suitable manner without worrying when and where the types and sub-types of drama arose.
Various forms of dramatic representation, from just simple to the most complicated, have been in vogue since long in different parts of India, and some of the primitive types survive even to this day in out-of-the-way villages enacted by village folk in their own way. The recognition of only ten Rūpakas by theorists indicates that these were standardised types worthy of the attention of cultured classes and court circles. Later theorists do recognise certain Uparūpakas. What is subsequently recognised is not necessarily later in age. Some of the popular forms of drama could not be easily and bodily recognised by orthodox theorists: that easily explains the attitude of theorists towards the so called Uparūpakas.
It is one thing to trace the early prototypes of dramatic conversation, recitation and action in the Ķgvedic dialogues, epic poetry and Vedic ritual, and also try to detect similarities with Greek drama and indigenous mimes; and it is another to trace the possible evolution of Indian drama by arranging its types and sub-types in a logical and evolutionary sequence, after thoroughly studying all the theoretical details and available plays.
Lately Prof. D. R. Mankad' has tried to trace the history of the evolution of Indian drama. Though one may not agree with him in all the minor details, the method adopted by him gives interesting results. He starts from nytta which branches off into two currents: 1) tāndava (uddhata)>nrtya>Bhāņa>Uparūpakas like Preksaņaka, Ullopyaka, Sallāpaka, Silpaka>Rūpaka types : Vyāyoga>Samavakāra, Thāmrga, Dima; 2) lāsya ( masrna)>nrtya> Bhāņikā> Uparūpakas like Bhāņa, Dombī, Nartanaka, Prasthānaka,
1
The Types of Sanskrit Drama, pp. 147 etc.
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