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Books > Performing Arts > Original Texts > नाट्यशास्त्री: Three Sanskrit Plays
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नाट्यशास्त्री: Three Sanskrit Plays
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नाट्यशास्त्री: Three Sanskrit Plays
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FOREWORD

Shri Ramakrsna Sarmas first samskrita play 'Bangladesodayam was hailed as a repository of our national sentiments in the context of the creation of Bangla Desh as a separate nation. Here comes his trio of Samskrta plays, Viz. Pranayavicchedah, Kanvasramah and Vidambana each of which gives a very interesting reading by virtue of its stylistic simplicity, attractive presentation and dramatic sublimity, despite linguistic aberrations here and there.

The Pranayvicchedeh is an One-Act play representing a novel presentation of the contents of the Fifth Act of the Abhijnana Sakuntlam. The novel treatment of the old theme interests us most even without any notable innovation. It has been staged more than once and has each time generated a feeling of novelty among the audience.

The Kanvasramah represents the playwrights imaginative original flights to an ideal hermitage centre. Drawing inspiration from Kalidasa's brief depiction of Kanvasrama, Sri Sarma has done his best presenting this asrama as an abode of eternal Natural Beauty, Spiritual Peace and Intellectual Bliss and Non- violence.

"aho prakrtimani svayam eva paricarati Kanvas-raman .. .. .. .. yatha ca tatra ... .. .. 'Kvacin mayur abhujanganakulakulanam sammelanam, Kvacid govyaghrabhallu- Kakurangabalayuvavrddhanam parasparika-dehalehanam ….. avisvasam ivo' pajanayati svacaksusam upari darsakajanasya.

Like the "Keralarajadampati and the "Pathikadampati" who are introduced here as seekers of spiritual and intellectual shelter, the audience are also undoubtedly impressed with all "The Truth the Good, and the Beautiful" that constitutes the life of this Asrama. This One-Act play, when staged, leaves an everlasting impression about the Natural, spiritual and intellectual Beauty of Kanvasrama.

The Vidambana is a Six-Act play presenting the well known Karna story in a novel dramatic style. Look at the pathos represented in the following remorseful lamentation of Yudhisthira after Karna's death is reported by Kunti.

Agrajam sodaram hatva Pataki vai Yudhisthirah
Gamisyami Katham geham aranyam pravisamy aham
Thus this trio represents the aesthetic capability of the author to blend the "Old" and the "Neo" into a superb dramatic art form. It is not without a deep aesthic insight in their back ground that Sri Sarma's plays, when staged provoke instantaneous tears and joy in the eyes of the audience. Thus it goes without saying that the dramatargical skill of the author together with his deep and thoughtful interest in ancient Indian classical tradition reflect themselves fully in the presentation of this trio representing perhaps the three gunas-Sattva Rajas and Tamas respectively. He is decidedly one of the best few Sanskrit play writers of to-day, thoroughly conversant with the art of dramaturgy.

Sri-Sarma has done a good job in presenting the trio of his new creative writings in one Volume representing the onset of Vipralambha, Blissful Peace and Karuna respectively. We would expect, more and more aesthetic presentation like this (or even more and more elegant) from his pen. We wish him all success in his aesthetic ventures.

 


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नाट्यशास्त्री: Three Sanskrit Plays

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Item Code:
NZC570
Cover:
Hardcover
Edition:
1993
Publisher:
ISBN:
8170812771
Language:
Sanskrit Text with Hindi Translation
Size:
8.5 inch X 5.5 inch
Pages:
136
Other Details:
Weight of the Book: 275 gms
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FOREWORD

Shri Ramakrsna Sarmas first samskrita play 'Bangladesodayam was hailed as a repository of our national sentiments in the context of the creation of Bangla Desh as a separate nation. Here comes his trio of Samskrta plays, Viz. Pranayavicchedah, Kanvasramah and Vidambana each of which gives a very interesting reading by virtue of its stylistic simplicity, attractive presentation and dramatic sublimity, despite linguistic aberrations here and there.

The Pranayvicchedeh is an One-Act play representing a novel presentation of the contents of the Fifth Act of the Abhijnana Sakuntlam. The novel treatment of the old theme interests us most even without any notable innovation. It has been staged more than once and has each time generated a feeling of novelty among the audience.

The Kanvasramah represents the playwrights imaginative original flights to an ideal hermitage centre. Drawing inspiration from Kalidasa's brief depiction of Kanvasrama, Sri Sarma has done his best presenting this asrama as an abode of eternal Natural Beauty, Spiritual Peace and Intellectual Bliss and Non- violence.

"aho prakrtimani svayam eva paricarati Kanvas-raman .. .. .. .. yatha ca tatra ... .. .. 'Kvacin mayur abhujanganakulakulanam sammelanam, Kvacid govyaghrabhallu- Kakurangabalayuvavrddhanam parasparika-dehalehanam ….. avisvasam ivo' pajanayati svacaksusam upari darsakajanasya.

Like the "Keralarajadampati and the "Pathikadampati" who are introduced here as seekers of spiritual and intellectual shelter, the audience are also undoubtedly impressed with all "The Truth the Good, and the Beautiful" that constitutes the life of this Asrama. This One-Act play, when staged, leaves an everlasting impression about the Natural, spiritual and intellectual Beauty of Kanvasrama.

The Vidambana is a Six-Act play presenting the well known Karna story in a novel dramatic style. Look at the pathos represented in the following remorseful lamentation of Yudhisthira after Karna's death is reported by Kunti.

Agrajam sodaram hatva Pataki vai Yudhisthirah
Gamisyami Katham geham aranyam pravisamy aham
Thus this trio represents the aesthetic capability of the author to blend the "Old" and the "Neo" into a superb dramatic art form. It is not without a deep aesthic insight in their back ground that Sri Sarma's plays, when staged provoke instantaneous tears and joy in the eyes of the audience. Thus it goes without saying that the dramatargical skill of the author together with his deep and thoughtful interest in ancient Indian classical tradition reflect themselves fully in the presentation of this trio representing perhaps the three gunas-Sattva Rajas and Tamas respectively. He is decidedly one of the best few Sanskrit play writers of to-day, thoroughly conversant with the art of dramaturgy.

Sri-Sarma has done a good job in presenting the trio of his new creative writings in one Volume representing the onset of Vipralambha, Blissful Peace and Karuna respectively. We would expect, more and more aesthetic presentation like this (or even more and more elegant) from his pen. We wish him all success in his aesthetic ventures.

 


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