Sarangadeva, in his 'Sangita Ratnakara', states, "gitam, vadyam, tatha nrtya trayarh Sangitamucyate," meaning that music, instruments, and dance together are referred to as Sangitam. The Natyasastra by Bharata Muni is the earliest and most comprehensive treatise on Indian theatre, encompassing not only the principles of drama but also the rules governing music and instruments. While it is widely known that the Natyasastra was authored by Bharata Muni, it is believed to have been written between 200 BCE and 200 CE. Unfortunately, the original text is no longer available. The surviving version of the Natyasastra is a commentary written by Abhinava Gupta, a renowned Kashmiri Shaivite and spiritual yogi, in the early 10th century. Over time, later scholars made several additions and deletions while compiling the text, resulting in various versions of the work. The available texts of the Natyasastra exist in two to four volumes, translated by various scholars into different Indian languages. As the most authoritative source on dance traditions, the Natyasastra has become essential reading for practitioners of Indian classical dance. It is now a key part of the curriculum in dance education as well.
For the younger generation who pursue dance as a secondary profession while studying their primary courses, it can be challenging and strenuous to navigate the extensive Natyasastra, with its 36 detailed chapters. Even for art enthusiasts, reading and understanding this voluminous work can be difficult. With this in mind, I have decided to simplify and condense the content of the Natyasastra to make it more accessible and easier to understand. This will be especially useful for dancers and art lovers of all ages. Focusing primarily on the needs of dancers, I have concentrated on the sections that are most relevant and important for every dancer than few other chapters. With this in mind I sought to simplify and presenting the key content of various chapters in more straight forward and easy to understand and accessible specially to support dancers in their practice. I hope that this effort will be appreciated and welcomed by everyone.
The primary challenge concerning the Natyasastra is determining the identity of its author as well as the date and period of its composition. The Natya Sastra stands as the foundational text for all performing arts, especially theatre, encompassing poetry, dance, music, and architecture. Much like the Vedas, Natya Sastra outlines both the theoretical and practical framework of Indian arts, which was adhered to by scholars and practitioners for nearly two millennia, influencing the entire subcontinent.
Bharata Muni categorizes his work as a 'Prayoga Sastra,' which interprets to a "theory of practice" or "theory of techniques." So that we can understand that the Natya Sastra is not only a theoretical framework but a practical guide for applying the arts (Unni N.P, 20214). Bharata explains that the original Natya Sastra, attributed to Brahma, was overly complex and challenging to implement. In response, Bharata took on the task of simplifying and clarifying the text, making it more accessible and engaging. While the Natya Sastra of Bharata Muni is often considered the earliest comprehensive treatise on dance and drama, Bharata himself acknowledged that he was not the author of the original work. Rather, he refined the complex and obscure Natya Sastra of Brahma, making it practical and accessible to a wider audience.
The Natya Sastra follows some of the "Agamic" traditions and, according to some sources, it may also include influences from Dravidian culture. It acknowledges the existence of numerous plays before its composition, noting that many of these earlier works did not follow the guidelines set out in the Natya Sastra. Bharata claims that this sacred text originated in the heavens and was brought down to Earth by his sons, particularly Kohaļa, Vatsya, Sandilya, and Dattila. He further proclaims that anyone who listens to the reading of this sacred text-said to come from Brahman's mouth, pure, holy, and capable of removing sins-and follows its teachings, will obtain the same spiritual rewards as those who study the Vedas, perform sacrifices, or make charitable offerings. The Natya Sastra not only prescribes what should be depicted in drama, but also how it should be performed. It represents the earliest known attempt to systematize the art of drama, laying out performance principles in a clear and organized manner. The text offers a comprehensive framework for understanding the Hindu dramatic arts as they existed both in theory and practice nearly two millennia ago. Based on the existing version of the Natya Sastra, it provides a fairly accurate reflection of the dramatic traditions that were prevalent at the time. The Natyasastra is regarded as the oldest surviving work on Indian theatre. According to the text, Brahma, the creator, composed the Natyasastra at the request of Indra and the other Lokapalas (guardian deities), who desired relief from the weight and monotony of their cosmic responsibilities
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