Without further preamble, let us now consider the chapters and topics of the Natya Shastra. For until we know exactly which aspects are being discussed in the context of drama, we will not have a clear understanding of the qualities and skills required of an actor and a dramatist. The confusion will persist about who Bharata is and why we hold him in such high esteem. Additionally, it will help discern the superficiality of books like “Bharater Natyashastra: Ekti Sojh Path” by Debesh Chattopadhyay, published by the West Bengal Children’s Academy. The practice of drama is not a market-dependent commodity. Even though economics may define that while art does not depend on economics, artists do, Indian aesthetics does not give this notion any importance, and we understand why from the Natya Shastra. In this context, an actor is not just an individual, and drama is not just an art form. It is a discipline, an artistic yoga.
It is important to mention that over time, various versions of the Natya Shastra have been published, and they are not all identical. Some versions have thirty-seven chapters, while others have thirty-six. However, since Abhinavagupta mentioned thirty-six chapters comprising six thousand verses, we will consider the Natya Shastra with thirty-six chapters here.
The first chapter discusses the origin and essence of drama along with its significance. The second chapter contains a detailed discussion on the construction of the theatre, including the backstage, stage, pillars, and other structural elements. The third chapter describes the rituals for the protection of the theatre and the blessings of various deities. The fourth chapter details the Tandava dance performed by Tandu, including its components, movements, and applications. This chapter is particularly important from a dance perspective.
The fifth chapter addresses the rituals preceding the performance, including the invocation, introductory speech, and various preparatory steps. This chapter is crucial for understanding the structure and implementation of a play. The sixth chapter provides a scholarly analysis of rasa, discussing the names, foundations, collection, definitions, and the number of rasas and their stable emotions. The seventh chapter is significant for the scholarly analysis of bhava, making these two chapters essential for literary studies.
The eighth chapter discusses the four types of acting and the detailed representation of facial and bodily expressions. The ninth chapter elaborates on hand gestures, including connected and disconnected gestures. The tenth chapter provides detailed guidelines on bodily movements, including the use of the chest, sides, waist, thighs, legs, and feet in acting. The eleventh chapter discusses aerial and ground movements, while the twelfth chapter details the characteristics and application of mandala movements. The thirteenth chapter covers different types of gaits.
The fourteenth chapter discusses the representation of different types of realistic and artistic movements. Chapters fifteen to nineteen comprehensively cover vocal representation, including grammar suitable for acting, prosody and its types, characteristics of poetry, different languages, and their detailed guidelines. Chapter twenty discusses the ten types of plays and the characteristics of the ten types of dance (Lasya). Chapter twenty-one provides a detailed analysis of the plot structure, five states of plot development, and their implications.
Chapter twenty-two discusses the styles and their guidelines, including minimalistic acting and its related elements. Chapter twenty-four deals with simple acting techniques. Chapter twenty-five provides a detailed description of the qualities and roles of different types of characters, while chapter twenty-six discusses pictorial representation and the detailed guidelines related to it. Chapter twenty-seven addresses the theories of success in drama, including the qualities and qualifications of the audience and evaluators.
Chapters twenty-eight to thirty-four cover the aspects related to music, including the four types of instruments, the seven notes and their types, rhythms, ornamentation, types of melodies, and the detailed guidelines related to musical instruments. Chapter thirty-five discusses the characteristics of roles and characters, and the final chapter, thirty-six, narrates how drama descended to earth and its narrative significance.
What? So, drama was not on earth before? Then where was it?
Be patient, my friend, you will get that answer in due time.
From this index, one thing becomes clear. The art of drama is not as simple as we might think. Not only for the actor but also for the audience, who must be specially prepared to appreciate the essence of drama. This extensive discussion not only highlights the different levels of acting but also reveals the breadth and depth of the ancient and traditional knowledge embedded in the Natya Shastra. Through this, we can understand how social, economic, political, psychological, and various other aspects are intertwined, highlighting the responsibility involved in providing joy through drama. Bharata’s drama is thus not a mere commodity. Hence, the Natya Shastra is undoubtedly an indispensable pillar of Indian drama, art, and literature, serving as an invaluable resource for artists and scholars. Future actors, if you wish to become like Bharata, here is your special training checklist.
