Bharata’s Doctrine and the Eleven Elements of Natya: A Dive into the Essence of Indian Classical Theatre

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The Nāṭyaśāstra stands as a seminal treatise on Indian classical theater, encapsulating a comprehensive framework known as the Eleven Nāṭya Saṅgraha. This doctrine, elucidated across the various chapters of the Nāṭyaśāstra, encompasses fundamental concepts essential for understanding and executing theatrical performances.

“Rasa bhāva hy abhinaya dharmī vṛtti pravṛttayaḥ:
Siddhiḥ svarās tathātodyaṃ gānaṃ raṅgaś ca saṅgrahaḥ”
(Ch. 6, v. 10)

Each element of this doctrine contributes to the richness and depth of Indian classical theater, providing practitioners with a structured approach to artistic expression.

Rasa: In the sixth chapter of the Nāṭyaśāstra, Bharata expounds upon Rasa, the aesthetic sentiment that forms the core of dramatic experience. Rasa is derived from a combination of Bhāva (emotive state), Vibhāva (determinants), Anubhāva (consequent reactions), and Vyabhicārī Bhāva (transitory emotions). Bharata identifies eight primary Rasas, including Śṛṅgāra (erotic), Hāsya (comic), Karuṇa (pathetic), Raudra (furious), Vīra (heroic), Bhayānaka (terrible), Bībhatsa (disgusting), and Adbhuta (marvelous).
Bhāva: In the subsequent chapter, Bharata elaborates on Bhāva, the emotive states that serve as the foundation of theatrical expression. Bhāva, represented through Abhinaya (acting), encompasses abstract emotions inherent in the human psyche. Anubhāvas (consequent reactions) and Vyabhicārī Bhāvas (transitory emotions) play crucial roles in evoking Rasa and facilitating Rasa-niṣpatti (aesthetic relish) among the audience.
Abhinaya: Abhinaya, the articulated acting methodology, is delineated across multiple chapters of the Nāṭyaśāstra. Bharata categorizes Abhinaya into four distinct types: Āṅgika (bodily gesture), Vācika (voice and speech), Āhārya (costume and makeup), and Sāttvika (emotive state of mind). Each form of Abhinaya contributes uniquely to the portrayal of characters and the communication of emotions, ensuring a holistic theatrical experience.
Dharmī: The theory of presentational styles, known as Dharmī, is expounded upon in the fourteenth chapter of the Nāṭyaśāstra. Bharata distinguishes between two primary modes of presentation: Lokadharmī, characterized by naturalistic behavior and simplicity, and Nāṭyadharmī, marked by stylized and refined expressions. These presentational styles dictate the degree of artistic articulation and intellectual expression within theatrical performances.
Vṛttis: Bharata outlines the four characteristic styles of activity, or Vṛttis, in the twenty-second chapter of the Nāṭyaśāstra. These Vṛttis serve as the foundational principles guiding the execution of theatrical productions. Bhāratī Vṛtti emphasizes verbal dialogues, Sātvatī Vṛtti focuses on grandeur, Ārabhaṭī Vṛtti embodies energy, and Kaiśikī Vṛtti embodies gracefulness, each contributing to the overall aesthetic appeal of the performance.
Pravṛttis: In the thirty-sixth śloka of the fourteenth chapter, Bharata introduces Pravṛttis, major regional stylizations that influence the cultural and stylistic nuances of theatrical presentations. These Pravṛttis, including Avantī, Dakṣiṇātyā, Pāñcālī, and Oḍhramāgadhī, reflect the diverse cultural landscapes of ancient India and inform the artistic conventions prevalent in different regions.
Siddhi: Success in dramatic production, known as Siddhi, is discussed in the twenty-seventh chapter of the Nāṭyaśāstra. Bharata delineates two forms of Siddhi: Daivīki, characterized by genuine emotional expression and excellence in performance, and Mānuṣī, dependent on various factors such as vocal modulation and audience engagement. Siddhi serves as a benchmark for evaluating the efficacy and impact of theatrical endeavors.
Svara: In the Nāṭyaśāstra, Bharata meticulously elaborates on Svara, the musical notes that form an integral part of theatrical performances. Across the twenty-eighth and twenty-ninth chapters, Bharata identifies the seven primary Svaras: Ṣaḍja (sa), Ṛṣabha (ri), Gāndhāra (ga), Madhyama (ma), Pañcama (pa), Dhaivata (dha), and Niṣāda (ni). These Svaras serve as the foundational elements of Indian classical music, each possessing unique tonal qualities and emotional resonances. Bharata further explores the origins of Svaras, attributing their basis to both the human throat and the Vīṇā, a traditional Indian string instrument. Through the integration of Svaras into theatrical performances, practitioners evoke specific moods and enhance the overall aesthetic appeal of the production, creating a harmonious synthesis of music and drama.
Ātodya: In the Nāṭyaśāstra, Bharata dedicates significant attention to Ātodya, the array of musical instruments employed in theatrical presentations. The first śloka of the twenty-eighth chapter introduces the diverse range of instruments utilized to accompany performances. Bharata categorizes these instruments into various types, including those made of leather, strings, wood, and brass. Through detailed descriptions and classifications, Bharata emphasizes the importance of Kuṭapa, the orchestral arrangement that integrates different types of instruments to create a cohesive musical accompaniment. From percussion instruments like drums and cymbals to wind instruments like flutes and horns, Ātodya enriches theatrical productions with its melodic and rhythmic elements, heightening the auditory experience for the audience.
Gāna: Bharata’s discourse on Gāna, theatrical songs, unfolds in the thirty-second chapter of the Nāṭyaśāstra. Here, Bharata elucidates the concept of Dhruvā songs, a specific category of musical compositions characterized by their structured format and rhythmic patterns. Bharata identifies different types of Dhruvās, including Praveśikī (indicating entries), Ākṣepikī (providing indications), Prāsādhikī (creating a sense of contentment), Antarā (occurring between scenes), and Niṣkrāmikī (denoting exits). These Dhruvā songs serve multiple functions within theatrical performances, from setting the mood to advancing the narrative and enhancing the emotional impact of scenes. Through their melodic richness and lyrical depth, Gāna adds layers of complexity and nuance to the theatrical experience, fostering a deeper connection between performers and audience members.
Raṅga: Bharata’s exploration of Raṅga, the performing space, unfolds in the second chapter of the Nāṭyaśāstra. Here, Bharata delineates the architectural and spatial considerations essential for staging theatrical productions. Bharata identifies three types of theater halls: Caturasra (square-shaped), Vikṛṣṭa (rectangular), and Tryasra (triangular). These theaters serve as the physical backdrop for dramatic performances, providing a platform for actors, musicians, and dancers to engage with audiences. Bharata’s detailed prescriptions regarding stage design, seating arrangements, and acoustics ensure optimal visibility and auditory experience for spectators. Additionally, Raṅga extends beyond physical space to encompass the sacred atmosphere and ritualistic elements inherent in theatrical presentations, underscoring the transcendent nature of Indian classical theater.

Conclusion:

The Eleven Nāṭya Saṅgraha encapsulate the profound wisdom of Bharata, providing a structured yet dynamic framework for Indian classical theater. Each element—be it the emotional resonance of Rasa, the evocative power of Bhāva, or the intricate interplay of Abhinaya and Svara—contributes to the holistic experience of performance art. Together, they reflect the harmonious integration of emotion, intellect, and spirituality that characterizes the Nāṭyaśāstra. By embracing this doctrine, practitioners and scholars alike can delve deeper into the timeless art of storytelling, bridging ancient traditions with contemporary interpretations, ensuring its relevance and vitality for generations to come.