Classical theatre

Classical Sanskrit theatre flourished during the first nine centuries ce. Aphorisms on acting appear in the writings of Panini, the Sanskrit grammarian of the 5th century bce, and references to actors, dancers, mummers, theatrical companies, and academies are found in Kautilya’s book on statesmanship, the Artha-shastra (4th century bce). But classical structure, form, and style of acting and production with aesthetic rules were consolidated in Bharata Muni’s treatise on dramaturgy, Natya-shastra. Bharata defines drama as a

mimicry of the actions and conduct of people, rich in various

emotions, depicting different situations. This relates to actions of men good, bad and indifferent and gives courage, amusement, happiness, and advice to all of them.

Bharata classified drama into 10 types. The two most important are nataka (“heroic”), which deals with the exalted themes of gods and kings and draws from history or mythology (Kalidasa’s Shakuntala and Bhavabhuti’s Uttararamacharita fall into this category), and prakarana (“social”), in which the dramatist invents a plot dealing with ordinary human beings, such as a courtesan or a woman of low morals (Shudraka’s Mrichchakatika, “The Little Clay Cart,” belongs to this type). Plays range from 1 to 10 acts. There are many types of one-act plays, including bhana (“monologue”), in which a single character carries on a dialogue with an invisible one, and prahasana (“farce”), which is classified into two categories—superior and inferior, both dealing with courtesans and crooks. King Mahendravikramavarman’s 7th-century-ce Bhagavad-Ajjukiya (“The Harlot and the Monk”) and Mattavilasa (“Drunken Revelry”) are examples of prahasana.

There are three structural types of classical theatre: oblong, square, and triangular, each further divided into large, medium, and small sizes. According to the Natya-shastra, the playhouse was “like a mountain cave” with two floors at different levels, small windows so that outside noise and wind would not interfere with the acoustics, and a backstage for actors to do makeup, costumes, and offstage noise effects. Bharata disapproved of a large playhouse and recommended the medium-size structure meant for court productions.

The ancient Hindus insisted on a small playhouse, because dramas were acted in a highly stylized gesture language with subtle movements of eyes and hands. Hindu theatre differed from its Greek counterpart in temperament and method of production. The three unities rigidly followed by the Greeks were totally unknown to Sanskrit dramatists. Less time was consumed by a Greek program of three tragedies and a farce than by a single Sanskrit drama, with its subsidiary plots and wide variety of characters and moods. The Greeks laid emphasis on plot and speech, the Hindus on the four types of acting and visual demonstration. People were audiences to the Greeks and spectators to the Hindus. The aesthetic rules also differed. Aristotle’s theory of catharsis bears no resemblance to Bharata’s theory of rasa. The Greek conception of tragedy is totally absent in Sanskrit dramas, as is the aesthetic principle that prohibits any death or defeat of the hero on stage.

There were two types of Hindu productions: the lokadharmi, or realistic theatre, with natural presentation of human behaviour and properties catering to the popular taste, and the natyadharmi, or stylized drama, which, using gesture language and symbols, was considered more artistic. In Shakuntala the king enters riding an imaginary chariot, and Shakuntala plucks flowers that are not there; in “The Little Clay Cart” the thief breaks through a nonexistent wall, and Maitreya passes through Vasantasena’s seven courtyards by miming.

A classical play traditionally opened with the nandi, a benediction of eight to 12 lines of verse in praise of the gods, after which the sutra-dhara (stage manager) entered with his wife and described the place and occasion of the action. The last sentence of his prologue served as a bridge leading to the action of the play. In Shakuntala he refers to the bewitching song of his wife, which has made him forget his surroundings as the pursuit of a deer has made the king forget his state affairs. At this point the king enters, riding his hunting chariot, and the spectators are plunged into action of the play.

The vidushaka (clown) is a noble, good-hearted, blundering fool, the trusted friend of the hero. A bald-headed glutton, comic in speech and manners, he is the darling of the spectators. With the decline of Sanskrit drama the folk theatre in various regional languages inherited the conventions of the opening prayer song, the sutra-dhara, and the vidushaka.

The only surviving Sanskrit drama is kudiyattam, still performed by the Chakkayars of Kerala. Some principles of the Natya-shastra are evident in their presentations.

The earliest available classical dramas are 13 plays edited in 1912 by Pandit Ganapati Sastri, who dug out their manuscripts in Trivandrum, the capital of Kerala state. These, ascribed to Bhasa (1st century bce–1st century ce), include the one-act Urubhanga (“The Broken Thigh”), a tragedy that is a departure from Sanskrit convention, and the six-act Svapnavasavadatta (“The Dream of Vasavadatta”).

The most acclaimed dramatist is Kalidasa. Other important playwrights succeeding him include Harsha, Mahendravikramavarman, Bhavabhuti, and Vishakhadatta. An exception is King Shudraka, whose work is perhaps the most theatrical in the entire Sanskrit range.

The title of “The Little Clay Cart” represents a departure from Sanskrit tradition, in which a prakarana was generally named after its hero and heroine. Malavikagnimitra, for example, is the love story of Princess Malavika and King Agnimitra, Vikramorvashi is the tale of King Pururavas and the heavenly nymph Urvashi, and Malati-Madhava is the love drama of Malati and Madhava. Shudraka, as if to mock tradition, chose an insignificant homely incident—the hero’s son playing with a toy cart—and elevated this to the title.

“The Little Clay Cart” has a wide range of characters. The plot does not progress in a straight line but zigzags along a winding path. During its 10 acts the hero does not appear in four of them, the heroine is absent from three, and the lustful villain disappears after the first act until the eighth. Each act is an almost independent play. The device used to link the acts is that of ending them with subtitles that sum up their particular themes or plots.

“The Little Clay Cart” has been successful in the West, whereas Indian audiences, still fed on poetic-flavoured characters and romances of an ethereal type, have favoured Shakuntala. Western audiences find “The Little Clay Cart” more in their own tradition of realism and individualized characterization. Its “lisping villain,” gamblers, and rogues have something in common with Shakespeare’s comic characters and Molière’s crooks. “The Little Clay Cart” is better theatre, whereas Shakuntala is better poetry.