Evolution Of The Sanskrit Stage - Book Summary

Here's a comprehensive summary of the provided text from "Evolution of the Sanskrit Stage" by N. P. Unni, focusing on the evolution of the Sanskrit stage:

The text explores the historical development of the Sanskrit stage in ancient India, beginning with its mythical origins and tracing its architectural and functional evolution through various periods.

I. Mythological and Early Origins:

Divine Attribution: The origin of the Indian theatre is attributed to Brahma, the creator god, reflecting a common Indian tendency to ascribe profound origins to divine blessings.
Sage Bharata's Role: Sage Bharata, author of the foundational text Natyasastra, is credited with making the theoretical divine treatise on dramaturgy practical and usable. His work, containing around 6,000 verses, presupposes a flourishing dramatic literature and references earlier writers on histrionics.

II. Ancient Indian Theatre - The Nature of the Stage:

Occasions and Venues: Performances were held on special occasions like festivals, royal weddings, coronations, and victories. Temples of gods and royal palaces served as primary venues. Sanskrit dramas and tales frequently mention "dancing balls" and "music rooms."
Early Evidence: The remains of a cave on Ramgarh hill, dating back to the 2nd century B.C., are considered a potential early stage, suggesting dramatic activities predating the Christian era. The Natyasastra also validates such locations.

III. Bharata's Stage (Natyasastra):

Architecture and Types: The second chapter of the Natyasastra details theatre architecture, defining three main types based on shape and size, conceived by Vishwakarma, the divine architect:
- Vikrsta (Rectangular): The largest, with dimensions of 108 x 64 hastas (162' x 96'). While impressive, it was deemed impractical for human hearing at such distances.
- Caturasra (Square): The middling size, with dimensions of 64 hastas (96' x 96'). This was considered the best for human beings, allowing speech and music to be heard clearly.
- Tryasra (Triangular): The smallest, with dimensions of 32 hastas (48' x 48'). This was considered too small and not favored by Bharata.
Size Variations: Each shape could also be categorized as Jyestha (large), Madhyama (middling), and Avara (small), leading to potential nine types. However, Bharata primarily refers to three distinct types.
Construction Principles:
- Site Selection: Ideal locations were even, durable, hard, and had black or white soil.
- Inauguration: The construction began with musical accompaniment, and undesirable individuals were excluded. Offerings were made to guardian deities.
- Components: The theatre comprised three main parts: the Nepathyagrah (greenroom) behind the stage, the Rangasirsa (stage proper), and the auditorium.
- Stage Features: A painted curtain, harmonizing with the play's sentiment, hung at the back. The stage height was generally four feet. The front was decorated with carvings, technically called Mattavarani. Artistic woodwork with carvings of wild animals was important.
- Auditorium and Seating: The auditorium featured rows of seats divided by pillars. Pillars of different colors indicated seating for different social strata (Brahmin - white, Kshatriya - red, Vaishya - yellow, Shudra - blue/black). This suggests privileged seating for those with a better understanding of the art, though the design ensured everyone could see and hear.

IV. Theatres of the Later Period:

Visnudharmottara (450-650 A.D.): This encyclopedic work mentions Natyamandapa (theatre) and distinguishes between dance (lasya) which could be performed in open spaces, and drama (natya) which should be in a theatre. It mentions two types: Ayata (rectangular) and Caturasra (square, 32x32 hastas or 48x48 feet). It stressed avoiding excessively large or small theatres to ensure good visibility and acoustics.
Manasara (11th-15th century A.D.): This architectural treatise discusses theatres attached to royal palaces, mentioning various construction materials (wood, stone, brick, metal) and the importance of decorative carvings of figures like Vyali (leogriph) and Makara (crocodile). Dimensional details were not provided.
Naryasarvasvadipika (Unknown Date): Largely followed Bharata's classification but gave the Vikrsta type larger dimensions (128 hastas or 192 feet).
Sangitamak aranda (attributed to Narada, 11th century A.D.): Mentions a single, square-shaped theatre with dimensions of 96x96 hastas, differing from Bharata's multi-type classification.
Bhavaprakasand (Saradatanaya, 11th-13th century A.D.): Mentions three types: Caturasra, Tryasra, and Vrtta (circular), the latter being a new mention. Different occasions dictated which stage type was used, with the circular stage being attended by the king with connoisseurs. The square stage was for the king with ministers and courtesans, while the triangular stage was for the king with the queen and ladies of the harem.

V. Temple Theatres of Kerala (Kuttampalam):

Significance: Temples in Kerala were cultural and artistic centers, and many temple theatres (Kuttampalams) were built, some dating back to the 9th century A.D. These served as permanent stages for professional actors (Cakvars) to perform Sanskrit dramas during festivals.
Contribution: These theatres played a crucial role in preserving old Sanskrit plays and encouraging new compositions, contributing to Kerala's rich dramatic heritage. Kings like Kulasekharavarman enriched this heritage with works like Tapatisamvarana and Subhadradhananjaya.
Architectural Integration: Temple architecture manuals, like Tantrasamuccaya (1428 A.D.), incorporated details on theatre construction. The Natyamandapa was to be located to the right of the temple, facing the deity.
Structure: The stage was typically square with four pillars supporting the roof. A greenroom was located behind the musicians' area. Spectators sat on the ground, elevated a few feet above the theatre's base, without formal seating.
Dimensions and Design: The size of the Natyamandapa was proportional to the circumference of the sanctum sanctorum, with different authorities proposing various methods for this calculation. The roof was tiled or copper-sheeted and featured three ornamental domes (stupas), one above the stage center.
Evolutionary Aspect: Many Kerala temple theatres, often rectangular, bear similarities to Bharata's Vikrsta type. Their dimensions were often determined relative to the temple's circumference. These Kuttampalams are seen as a significant evolution, bringing theatrical art closer to the common people and fostering a shared cultural heritage. They were instrumental in preserving ancient dramas like the thirteen Trivandrum plays attributed to Bhasa.

In essence, the text details the journey of the Sanskrit stage from its divine inspiration and early practical manifestations to the detailed architectural prescriptions of Natyasastra and the significant contributions of later texts and the unique development of temple theatres in Kerala, which democratized access to dramatic performances and preserved India's theatrical traditions.