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Vol. XVIII, '92-'93
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(medium) and avara (small). Thus there are nine types of theatre. Measured either by hasta or danda these nine types multiply into eighteen, the largest having the capacity to accomodate a few thousand spectators, and the smallest for the selected few17. This vast range of the types of theatre is to be utilised selectively in co-relation with the other components of natyasamgraha and also in accordance with the type of the play to be performed. From the point of view of the tempo and mode of performance, the major types of drama (dasarūpakas) are divided into two categories āviddha (forceful) and sukumāra (graceful).18 Dima, samavakāra, vyāyoga, Ihamrga - these four fall in the first categotry and the rest of the six in the second. The aviddha type, dominated by the ārabhaṭī vṛttis with the conspicuousness of the sattvati requires vigorous movements and larger space. The four divisions of sattvatī, namely utthāpaka, parivartaka, samlāpaka and sanghatya comprise the motifs of fight, the spectacle; while the divisions of ārabhați require big sets, use of properties, scenes of war and retreat. For the performance of aviddha type of plays, therefore, the largest (jyestha) theatre will be suitable, while for the sukumāra type, where kaiśiki vṛtti predominates, the medium type will be the best. For the smaller plays like Bhāna and prahasana, however, the smallest (kanistha) theatre will be just sufficient, as Bhāratī Vṛtti which comprises more speech and less action rules in such plays. NS thus offers a big range of theatres for the choice of the performer. The architecture and the shape and size of the playthouse are closely linked with the vṛttis and, therefore, they not only affect the accoustics the music, orchestra and the dialogue-delivery, but also have their own impact on the delineation of pravṛttis and subsequently on abhinaya, bhavas and Rasa.
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Gāna, the second category in the natyasam graha, counting from the reverse side, is likewise closely linked with the other categories. It prepares a ground for the performance of a play. Bharata, therefore, suggests that gāna should precede all other items before the start of a play, because it forms the sayyā (basis) for the dramatic performance :: प्रथमं तु कार्यः । शय्यां हि नाट्यस्य वदन्ति गीतिम् ॥
It is in the fitness of things, therefore, that many of the items of pūrvaranga (preliminary rituals for a dramatic performance) are related to music and orchestra. Pratyāhāra, the very first amongst the 19 items of purvaranga, consists of the entrance of the members of the orchestra on the stage, and avatarana, coming just after it, indicates the songstresses taking their proper place. Arambha is the begining of songs, while the next items āśrāvaṇa, vaktrapāņi and parighaṭṭana are all related to musical instruments (ātodays).
Atodya (instruments) and svara (notes) are the next items in the natyasamgraha. They are directly related to Rasa. The employment of gāna and ātodya with svara paves the way for the siddhi (success) of the play being performed. The siddhi is of two types daivi (divine) and mănușī (human). These two types of siddhi are related to the modus operandi in a performance leading to the creation of theatric time and space. If the consciousness of the spectators is completely switched over to this different plane of time
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