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Analysing Natyasastra
NATYASASTRA IS the most important text of dramaturgy that India has ever produced. Written between 500 BC to 300 AD by Sage Bharatha, it serves as a comprehensive guide, extensively covering all aspects of theatre. Though the title literally means `Science of Theatre', the Natyasastra contains the fundamental facts about all our art forms. In 6,000 Sanskrit `slokas' under 36 chapters, Natyasastra covers all aspects of theatre and other art forms, beginning with origin of theatre, acting, costuming, make-up, properties, dance, music, poetic composition, play construction, grammar, audiences, rituals, architecture of theatre etc. But it is depressing that this classic and comprehensive work is being ignored by most of our artists. Instead of utilising this brilliant work for improvising and refining their art, artists and scholars disregard it and enthusiastically indulge in irrelevant debate around the enigma of Natyasastra.
It is this prejudiced approach of our artists that prompted C. P. Unnikrishnan, a multi-faceted personality, to do more research on Natyasastra to enlighten the artists and art lovers the significance of this exceptional classical work. The lecture-demonstration titled Bharatha's Natyasastra: A Science? Basic Study' by Mr. Unnikrishnan at Avishkar Kala Kendram, Kochi, was a skilful exposition of this work.
Mr. Unnikrishnan, who teaches science at the Chinmaya Vidyalaya, Ernakulam and a trained kathakali artiste, focussed his lecture, primarily on two questions often raised about Natyasastra: Whether this work can be classified as science and the contents of this work.
As a prelude, Mr. Unnikrishnan explained how Natyasastra originated, as described in the first chapter `Natyolpatthi.' It says that in `Threta Yuga,' when human beings became incapable to realise the dictums of four Vedas, Indra, Varuna, Kubera and Yama, identified it as a problem and requested Lord Brahma to create a new Veda for the preservation of righteousness, that will be entertaining, audio-visual and accessible to all.
Interestingly, the lec-dem was also entertaining, audio-visual and accessible. Brahma created the Natyaveda combining various aspects from the four Vedas and assigned Sage Bharatha to implement it. Bharatha, incorporating Dhanurveda and Ayurveda into Natyaveda, transformed it into the Natyasastra. In the first part of his talk Mr. Unnikrishnan emphatically and scientifically proved that the Natyasastra is science. It contains all the essential features of a scientific treatise such as observation, defining the problem, formulation of hypothesis, experimentation, theorisation and declaration of ambience on which it is based.
In the second part of his lecture Mr. Unnikrishnan explained the contents of the Natyasastra. Instead of going through the whole text, he explained the chapter titled `Natyasastra Samgraham,' which enabled the audience to understand Natyasastra in a compact form. It explains all the features of Rasa, Bhava, Abhinaya, Dharmi, Vrithi, Pravirthi, Siddhi, Swara, Athodyam, Ganam, Prakrithi, Upacharam and Mandapa. It extensively explains each of these aspects of Natya. In the Mandapa, all the aspects of the architecture of theatre is described.
The three hour long lecture was well supplemented by the magnificent graphics of Power Point presentation. Mr. Unnikrishnan skilfully made use of modern technology to explain a classical work. It was interspersed with anecdotes, humorous and satirical, which made the lecture all the more lively. The live demonstrations by dancers Kumari Indu, Gayathri, Praveena and Lakshmi, trained in Bharatanatyam, Mohiniyattom, Thullal and Kathakali, enhanced the lec-dem.
T. K. SADASIVAN
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