Sambodhi 1996 Vol 20

Author(s): Jitendra B Shah, N M Kansara
Publisher: L D Indology Ahmedabad

Page 12

R. V. TRIPATHI
SAMBODHI
सर्वाङ्गसौष्ठवाभिव्यक्तये विरलनेपथ्ययोः पात्रयोः प्रवेशोऽस्तु । Bharata stands for maintaining a subtle balance between the two types of dharmi (modus operandi) of prayoga or performance - lokadharmi and nātyadharmī. Kālidās has also maintained a balance between these two dharmis in his dramatic writings. The directions - nātyena, sūcayitvā, rūpayitvä, nirūpya etc. indicate highly suggestive and stylised mode of performance in his plays, while in a number of situations the actor is directed to perforın realistically. For descending from the heaven, the mountain, or the terrace of a palace; ascending on or descending from the chariot; worship, decorating the body, plucking the flowers, showing love-scenes or siinilar sequences the stylised postures are suggested. The exit of Sänumatia celestial nymph, in act VI of Säk. is shown by udbhrāntaka karaṇa, which according to Rāghavabhatça is used for showing the flight upwards in the sky. Kapota-hasta is indicated for salutation to Kāmadeva in the worship by the two ceļīs in act VI of the same play which is in accordance with Nś. Sakuntalā's torture by the bee is to be delineated through bluramara hasta (NŚ' IX. 98) and bhramara angahāra, although K. has not specified them, but the postures or movements of Sakuntalā as described by Dusyanta suggest the use of such an angahāra and hasta in this situation. In fact, Kālidās has even amended and added something more to Bharata's definition of Bhramara hasta by describing Sakuntalā as shaking both the hands vigorously (karau vyādhunvatyäh), as As'okamalla in his Nrtyādhyāya has suggested that hands should be shaken vigorously if the bee is also to be shown hovering above the artiste in the performance of Bhramara hasta. This seems to be a Kalidasa-effect on later tradition of the theory of abhinaya. Sanskrit drama enters a new phase with Bhavabhūti, who did not associate himself with the royal court theatre. Instead, he wrote for the temple theatre, which has been described in the Vişnudharmottarapurāņa and his plays were produced on the occasion of the yātrā festival of a temple Kāla-priyanātha. Even though Bhavabhūti had studied Bharata's Nś in depth and details, his dramatic pieces require a different type of theatre and a different mode of presentation. The view of theatre has influenced the structure and design of his plays. The dramatist has in his mind, the large number of spectators, instead of the selected few for which the dramatists attached to the royal court theatre wrote. Very big crowds assembled, on the occasion of Yātrā festivals to see the perforınances of dramas or dances which went on for a number of days during the period of the festival. Bhavabhüti himself has given a graphic pictures of the