Dramatic Concepts: Greek and Indian

CONTENTS Preface vii Part I : ANCIENT DRAMA AS HIEROPRAXIS 1. INTRODUCTION Ancient Drama as Hieropraxis Unification of Speech, Gesture and Dance in Hieropraxis Growth of European Drama Poetics and Natyasastra as Systems of performance 3 2. THE DATE OF THE NATYASASTRA Antiquity of Dasarupakas Gandharvas and Gandharva Pre-epic Themes of Early Drama The Prose Passages in the NS The NS as a Compilation 19 3. INDO-EUROPEAN BELIEFS IN GREEK AND INDIAN DRAMA Miasma-katharsis orSauca-asauca Ancestor Worship and Burial Customs Oracles and Curses 41 4. DRAMA AS FESTIVE RITUAL Drama and Ritual The Nucleus of Dance in Greek Theatre Origin of Indian Drama Indian Festive Setting 63 Part II : CONCEPTS AND TECHNIQUES 5. BASIC CONCEPTS OF ARISTOTLE AND BHARATA MUNI: A REASSESSMENT 85 6. THEORY OF IMITATION Mimesis The Concept of Anukarana 93 7. MEDIUM OF IMITATION Rhythm, Language and Harmony Angika Abhinaya Verbal Abhinaya Sattvika Abhinaya Aharya Abhinaya Unification or Samanikarana 103 8. COMPARISON OF GREEK AND INDIAN THEATRICAL SPACE Hieropraxic Division of Space Greek Performance Space Indian Performance Space Open Theatres 125 9. THE VISUAL CONTENT Greek Gesture and Dance Greek Choreolgy Greek Dance Genres Visual Content in Indian Drama 145 10. THE AURAL CONTENT Lexis, Rhythm and Tone Greek Musical System The VagabhinayaConcept Elements of Pathya Dhruva Songs and Gandharva 169 11. DRAMATIC GENRES AND PLAY STRUCTURES The Serous and the Trivial Dasarupakas The Four Vrttis Play Structures Ethos and Nayakas 203 Part III : TRANSFORMATION AND EMOTIONAL AROUSAL 12. TRANSFORMATION AND EMOTIONAL AROUSAL Transformation of Reality Lokadharmiand Natyadharmi Greek Theory of Emotional Arousal Indian System of Emotional Arousal Katharsis and Hedone The Rasa Concept Views of Lollata, Sankuka, Bhattanayaka and Abhinavagupta Samyuktivada Katharsis and Rasa Epilogue Bibliography 275 Index 287