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it is only a derivative form, being based on the Naṭaka and the Prakarṇa.
Kohala Codified the Derivative Types of Drama
It seems Kohala, the next great writer after Bharata so far as the subject of Dramaturgy is concerned codified these derivative types of Drama (N.S. 36.65 C.S.S.). Thus while in Bharata we get the ten Rūpakas and the Naṭikā, in Kohala the minor varieties, the new types of dramas and dramatic representations received a systematic treatment. Vātsyāyana mentions some of the Uparūpakas (such as Hallisaka and Natyarāsaka) in his Kamasutra.
Bhāmaha, Daṇḍin and Abhinavagupta
But it is Abhinavagupta who deals with the minor stage shows for the first time (Abh. Bh. Chap. IV). Abhinavagupta quotes verses (Anuṣṭubhas) defining some Uparūpakas with the words "Taduktam cirantanaiḥ". We find these verses with the same remark in the Kāvyānuśāsana also, under the list of the twelve Geya Rūpakas (VIII. 4). In Bhāmaha (I. 24) there is a reference to the Naṭaka as well as to the Dvipadi, Samya, Rāsaka and Skandhaka (a dance), the last four being intended for Abhinaya and it is said by Bhamaha that these latter varieties are extensively explained by others: 'Uktonyaistasya vistaraḥ.' Dandin (K.A.1. 39) also mentions Lasya, Chalika, Samya etc. as meant to be seen, Prekṣartha.
Dhananjaya and Dhanika
As mentioned earlier, the Dasarūpaka of Dhananjaya distinguishes Nāṭya which is, Rasāsvaya, from Nṛtya, which is, Bhāvāśraya, saying that the former is (i.e., the Rūpaka class) is Vākyarthābhinaya and the latter (i.e., the Nṛtya class) is Padarthabhinaya. The Avaloka confirms this distinction on the same grounds. Dhananjaya's and Dhanika's explanations of the concepts of Natya and Nrtya means that the scope of the Nrtya class is smaller than that of the Rupaka class.
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