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Books > Performing Arts > Original Texts > SANSKRIT NATIKAS
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SANSKRIT NATIKAS
SANSKRIT NATIKAS
Description
About the Book

The present work deals with the delineation of natika. India has witnessed three distinct forms of entertainments based on Nrtta, Nrtya and Natya. The form of entertainment based on Nrtya, our dramaturgists called Uparupakas and the one based on Natya, they designated as Rupakas.

Dasarupaka is called Rasabhinaya or Vakyarthabhinaya, but Uparupakas make music sometimes predominant and generally omit or subordinate vacika abhinaya or speech as a result of which there is full scope for Abhinaya. They are therefore not called drama (Rupaka) strictly, but only Nrtya depicting only Bhava, and they are therefore Bhavabhinaya or Padarthabhinaya. Pure Abhinaya or rendering of a small connected themes or a number of isolated Muktaka themes through the art of gesture, aided by music is the chief characteristic which distinguishes the latter i.e. Uparupaka.

Therefore Vacika, Aharya and Sattvika produce Nrtya varieties. Natya emphasized all and especially Sattvika. It tries to have as much Lokadharni, realism or natural conditions, as possible, whereas in Nrtya, there is a maximum amount of idealism, Natyadharni.

The dominant Rasa in the Natika is Srngara (love). To evoke the Srngara in the hearts of the Sahrdayas is the purpose of the Natika for which various sentiments are described.

Because women predominate in the Natika great importance is given to the physical, the natural, (i.e. Liba, Vilasa etc.), and involuntary graces (i.e. Sobha, Kanti etc.) of the young women. Therefore Natika is said to be characterised by Lalitabhinaya (graceful acting).

About the Author

Dr. Parvati Tandon had a brilliant academic career. While preparing for post-graduate studies in Lucknow University during 1966-67 she translated Hamsa Sandesa of Vedantadesika, a South Indian writer. Latter she pursued research-work on "Sanskrit Ka Natika Shaitya" for which she was awarded Ph.D. degree by Lucknow University. Now for quite sometime, during her stay in Bangalore, she has done some independent work on Sanskrit Natikas.

Contents

Scheme of Transliteration

Preface

CHAPTER 2
Natika: The Representative Uparupaka

CHAPTER 3
Natika-Works in Sanskrit

CHAPTER 4
Fundamental Characteristics of the Natikas

CHAPTER 5
The Plot of Natikas

CHAPTER 6
Characteristics of Heroes of Natikas

CHAPTER 7
Social Background of Natikas

CHAPTER 8
Dramatic Styles and Diction of Natikas

CHAPTER 9

Conclusion

Bibliography

Index


SANSKRIT NATIKAS

Item Code:
ISL86
Cover:
Hardcover
Edition:
1986
ISBN:
8121500753
Language:
English
Size:
8.8" X 5.8"
Pages:
256
Other Details:
Weight of the Book:
Price:
$25.00   Shipping Free
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About the Book

The present work deals with the delineation of natika. India has witnessed three distinct forms of entertainments based on Nrtta, Nrtya and Natya. The form of entertainment based on Nrtya, our dramaturgists called Uparupakas and the one based on Natya, they designated as Rupakas.

Dasarupaka is called Rasabhinaya or Vakyarthabhinaya, but Uparupakas make music sometimes predominant and generally omit or subordinate vacika abhinaya or speech as a result of which there is full scope for Abhinaya. They are therefore not called drama (Rupaka) strictly, but only Nrtya depicting only Bhava, and they are therefore Bhavabhinaya or Padarthabhinaya. Pure Abhinaya or rendering of a small connected themes or a number of isolated Muktaka themes through the art of gesture, aided by music is the chief characteristic which distinguishes the latter i.e. Uparupaka.

Therefore Vacika, Aharya and Sattvika produce Nrtya varieties. Natya emphasized all and especially Sattvika. It tries to have as much Lokadharni, realism or natural conditions, as possible, whereas in Nrtya, there is a maximum amount of idealism, Natyadharni.

The dominant Rasa in the Natika is Srngara (love). To evoke the Srngara in the hearts of the Sahrdayas is the purpose of the Natika for which various sentiments are described.

Because women predominate in the Natika great importance is given to the physical, the natural, (i.e. Liba, Vilasa etc.), and involuntary graces (i.e. Sobha, Kanti etc.) of the young women. Therefore Natika is said to be characterised by Lalitabhinaya (graceful acting).

About the Author

Dr. Parvati Tandon had a brilliant academic career. While preparing for post-graduate studies in Lucknow University during 1966-67 she translated Hamsa Sandesa of Vedantadesika, a South Indian writer. Latter she pursued research-work on "Sanskrit Ka Natika Shaitya" for which she was awarded Ph.D. degree by Lucknow University. Now for quite sometime, during her stay in Bangalore, she has done some independent work on Sanskrit Natikas.

Contents

Scheme of Transliteration

Preface

CHAPTER 2
Natika: The Representative Uparupaka

CHAPTER 3
Natika-Works in Sanskrit

CHAPTER 4
Fundamental Characteristics of the Natikas

CHAPTER 5
The Plot of Natikas

CHAPTER 6
Characteristics of Heroes of Natikas

CHAPTER 7
Social Background of Natikas

CHAPTER 8
Dramatic Styles and Diction of Natikas

CHAPTER 9

Conclusion

Bibliography

Index


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