The ageless theatrical treatise
 

Rohan Jayetilleke

DANCE: There is a general misconception that the dance form Bharata Natya, is the only subject dealt by Bharatha Muni of ancient India. This is a treatise traversing and guiding the entire theatrical genre of India.

The work available now under the name Natya Sastra of Bharatha Muni contains about 5,600 verses (slokas or stanzas). There is a shorter version with a reduction of nearly 200 verses. Bharatha Muni or sage is the author of this work.

Originally the word 'Bharata' was used in the sense of an actor in a drama. The treatise dealing with the activities of a Bharatha (actor) or intended as a guide to him came to be known as 'Bharatasastra.

Later on the compound word began to signify the Sastra (science) propounded by Bharatha. Bhavabhuti, the dramatist is probably the first to mention Bharatha Muni as the author and he calls him Tauryatrikasutraka.

This work contains many topics discussed at length. The principal theme is the dramatic art, which concerns the producers of the plays as well as those who compose them, the playwrights.

There are certain plays only read, listened to and appreciated but, Bharatha wants the plays to be a Drusya Kavya (drama of the vision field) that can be successfully and profitably presented on the stage.

The vital relationship between the literary and the technical aspects of a play is analyzed and justifiably dealt with in that both physical gestures, facial expressions, poetics, music with all ramifications whether vocal or instrumental, prosody, some parts of grammar, costumes, ornaments, setting up of the scenes with proper background etc., have also been extensively elaborated.

The styles are simple and also contain technical details though abstruse for the uninitiated to Indian dramatics. In the main the work is in small Anustup slokas (stanzas) and those in Arya metre. Prose passages too are there.

The Natyasastra presents besides dramatic arts various other things to comprehend the landmarks and benchmarks in the ancient, pre-historic history of India. Prakruta and other allied native languages too are dealt with by means of examples.

References too are made to ancient tribal languages of India such as Babaras, Sabaras, Andhras, Dramidas, Kiratas, Candalar etc.

The literary value is inestimable with beautiful verses of high enigmatic literary excellence through varying examples. Innate dramatic appeals, divested of linguistic thickness of later classical ages of India are totally absent.

Rasas, Bhavas, Alankaras, are depicted well. Arts and crafts prevalent in India at the time are brought in to create a suitable backdrop for the different scenes on stage.

The costumes and ornaments, directions about dressing materials, modes of wearing garments and jewellery, articles to be used by the different characters in a play synchronizing with social standing of each character, gives longevity to the timeless dramatic arts of India.

The profession of cults, rituals and other practices, described help one to understand the social life of India of old, which continued still without a break.

The mythological and legendary figures starting from the lowest strata such as Uragas, Patangas, Bhutas, Rakdhsar, Asura etc., and ending with the gods and goddesses of the Hindu pantheon, the Daityas, Danavas, Guhyakas, Kstadika, Palakas, Gandhrvas, Apsaras, Asvins, Manmathas, Rudra, Visve devas, Brahaspati, Narada, Tumburu, Rshis, Mantradrastras, Brahma, Vishnu, Siva, Lakshmi, Chandika, Sarasvati etc too are portrayed in the work.

A significant omission from the pantheon is god Ganesa and Avataras of Vishnu. (incidentally Buddha is revered as Buddha Bhagavan in India today too as the ninth avatar (incarnation) of Vishnu. This omission indicates, that the Natya Sastra is pre-Buddhistic).

Geographically there are many references to cities and rural regions of ancient India, which even today are cradles, nurseries and richly surviving centres of the dramatic arts of India and well supported by the central government of India funded autonomous agencies under the Ministry of Human Resources Development, Sangeet Kala Kendra and Lalith Kala Kendra, based at New Delhi with regional centres and offices in different states of India.

The Indian TV channels of Doordharshan too regularly present programmes of Indian traditional classical and tribal music and dance and even the cartoon programme for children are not nonsensical violence promoting western cartoons but, cartoons developed on legends and myths of ancient India, as well as dance and music forms. The Akashvahini Radio programmes to follow suit.

Origin of dramatics

Indians believe that dance and music are gifts of gods and goddesses. What Sri Lankans and others view in films, TV programmes originating in India are just merchandise to lure the foolish-minded people overseas to purchase video and audio cassettes, CDs, and also watch Indian films, to garner foreign exchange for India.

The half-nude dresses of women and amorous scenes are totally absent in India and very faithfully followed by Sri Lankan so-called youth of both the sexes. The Indian classical and tribal music and dance are integral segments of the Indian religious and spiritual life. Therefore, the Hindi or Tamil films are just trash being developed to be a product with very easy and wide marketability overseas.

The opening stanza of Natya Sastra and the stanzas upto 18 give the origin of Natya Sastra. The opening stanza reads: "I, bow to the grandfather of the world (Brahma) and the Great Lord Shiva, and proceed to profound the Natya Sastra (the science of gesticulations and dance originated by Brahma).

Then the sages assembled plead. Formerly Atreya and other noble-souled sages with great control over their sense organs approached the righteous Bharata, the master of the science of drama and dance. At the time they had a short recess in their studies.

The sage Bharata had just concluded his incantations and repetition of holy names (Japa) and his sons too were with him. They implored him respectfully". How did Natya Veda on par with Srutis originate? O, Brahaman, you had expounded it, for whom is that science intended? How many parts does it have? What is its magnitude and how are we to apply the same? Kindly tell us the details".

Then Bharata explains, "O, Brahamins, the Man Vantara of Svayambhuva passed away. Later Kratayuga of Vaivasvata Muni too passed away. Then Tretayuga dawned. People became lustful and covetous and engaged in the rustic rituals.

Jealousy, and anger gripped their minds and they had both happiness and misery. When Jambudveepa was over-run by the Devas, Dinvas, Gandharvas, Yaksas, Raksasas and Nagas, it became stabilized by the guardians of the world namely Indra, Varuna, Mithra etc.

When Mahendra and other leading Devas implored Pitamaha, "We wish to have a pasttime that shall be simultaneously be visual and auditory". Bharata says, "The Vedic discussions and practices cannot be proclaimed among those born of the Sudra caste". The sages then pleads," Hence evolve another Veda common to all Varnas (castes)".

He dismissed the king of Devas. He made use of his yogic powers and recalled the Vedas. The Divine Being thus resolved," I shall evolve this Veda called Natya Veda along with its historical details.

It shall be conducive to righteousness, production of wealth and fame.; it will have succinct collection of didactic materials; it will serve as a guide to all human actions of future generations as well, it will be richly endowed with the topics dealt with in all scriptures (Vedas) and will demonstrate all types of arts and crafts. Thus Natya Veda born out of the four Vedas (Rig. Yajur, Athar and Sama) and their ancilliaries were profounded.

Bharata took the Pathyam (recitals) from the Rgveda, Gitam (music) from Samaveda, Abhinayas (histronic and gestural representations) from Yajurveda and the Rasas (sentiments) from Atharveda. Thus Natya Sastra was evolved by the noble-souled Brahma.

After evolving the Natya Veda, the Creator Brahma, directed Indra, the Guardian God of the Universe, "Historical legend has been got ready by me. Put it to practical use aiming the Suras (gods' people). May this Natya Veda be passed on to those among them who are proficient, shrewd, mature and indefatigable."

Bharata Natya

A layman today as well as those engaged in the dance with no learning of the entire Natya Sastra authored by Bharata Muni, understands by the word 'Bharatanatya only the 'Dance' aspect with facial and physical gesticulations. We have separate words Nrutta, Natya, Abhinaya etc., to signify this restricted aspects.

The Vachika, Angika, Hastamudra, Mukhavikara etc., are union of Indian life and traditions of the heterogenous country that is India with many races and 19 major languages, 844 dialects and one billion people. In the pursuit of achieving these basics Bharatanatya for an overall effect, the Nrtta, Gita, Vadya are the sine quo non.

Bharata says Natya is a Drsyakavya (that which is poetical in nature but seen and appreciated without any verbal accompaniment of the dancer. The great ever poet of India, the poet of Meghadhuta in Sanskrit, Kalidasa says, "Kautam aratum chakshusham' - An attractive holy rite of visual depiction.

Bharata divides his monumental work into four sections based on 'abhinaya' modes of conveyance of the theatrical pleasure called 'ras' which is pure and differs from the actual contact of the eye and mind with the objects of the world, which is always mingled and mired with passion.

These sublime and healthy interaction of objects with the mind and eye as advocated by Bharata, is achieved by three means, i.e. 'Sattvika', conveyed by the effects of the mind; 'anika' natural movements of the organs when any thought is expressed or conveyed; 'Vacika', the delivery expression; 'Aharya', the dress, deportment and mise-en-scene, namely out of placing a play.

Thus 'Bharatanatya' though is a stage dance is just a drama, the dancer using the above accessories is presenting through gesticulations and movements of hands, body, legs, eyes, face with the use of any verbal expressions or songs, to the accompaniment of background song and music.

Performance

Though Bharatanatya is regarded as a creation of Bharata Muni, the comprehensive character of the Natya Sastra as an integrated code of dramatic art, would dispose us to view it as a heritage of ages, an art that spread its influence all over india and also contiguous lands of South East Asia, taken by the Vaisya Sresthins through the guilds of dancers of India and funded by them, in their sea-faring trading expeditions.

Bharata Natya in the form in which now prevails in South India, we are told, is an art evolved in Tanjore just over 100 years ago, at the hands of the great masters of the art Chinniah, Ponniah and Sivanandam, the famous 'Tanjore Quartette.'

In a program of Bharata Natya as presented today, in South India, which this writer had the privilege of seeing and studying its history deeply, the first is a dedicatory dance, the Alarippu.

Standing erect with feet close and hands extended above the head, in the pose of adoration, the dancer executes a series of rhythmic movements of the neck, coordinated to the glance of the eyes and movements of the limbs.

The rhythmic movements of the neck, play of the eyes and the graceful movements of the hands and feet are highlighted in the next dance, a dance in 'nrrta, the 'Jattiswaram', a dance in 'Jati' or time measure, rhythmic permutations in a particular 'tala' rendered on the mridanga.

'Sabdam' the next is a dance in 'abhinaya', the code of signs and gestures standardized by the Natya Sastra, which is the dance that sets the pace for what follows, the 'Varnam' the most entrancing of the whole sequence of dancing.

A harmonious glending of both nrtta and nrtya, sentiments conveyed in the accompaniment of songs, 'padam' are interpreted by appropriate abhinaya. Stories are selected for their range of emotional content. One of the most popular is the classical Gita Govinda of poet Jayadeva, who eulogizes the amorous sports of the divine lover Lord Sri Krishna.

The fitting finale to the entire program, is the short and crisp 'Tillana' a fantasy of vigorous and intricate foot work.

Subtle emotions

In great accomplishments of Bharata Natya stands the dramatic presentations of the subtle emotions. Emotions (Bhava) conform to nine-fold analysis of, the Nava Rasa. These independently are 'sringara' (erotic), 'hasya' (comic), 'karuna' (compassion), 'rudra' (fierce), 'veera' (heroic), bhayanaka' (terrific), 'bheebhatsa' (disgust),. 'adbhuta' (marvellous) and 'santa' (serene). Though the Natya Sastra analyses human emotions under nine topics, the dominant emotions represented in Bharata Natya are 'Karuna' and 'Sringara', the devotional and erotic.

The original classical compositions are of the two categories, the spiritual and the Romantic. Bharata Natya is essentially a feminine art and the devotional and erotic themes give a wide spectrum for an accomplished artists to display her talents. In India dance and music are both spiritual and are inter-woven into the fabric of the Indian mind and Hindus.

As such there is no space for any other religion, whatsoever to outpace Hinduism and gain wide acceptance and popularity in India or with the Indian people. The other religions of Indian origin have no amalgam with dance and music and Hinduism stands as the via media for the Indians to synchronise their lifestyles with the timeless Indian arts.

The other religions apart from Hinduism, if an effort is made to revive or inculcate in the minds of the Indians is just carrying coals to New Castle, to quote an English proverb.

Overseas

The Bharata Natya had been taken to Burma (Myanmar) by sea-faring Indian Vaisya - sresthin merchant chieftains through guilds of dancers of India and it has evolved into Myanmar dancing form, as now existing in Myanmar, with distinctive root manifestations, although the costumes are different to the Indian Sari but, the Myanmar dresses with a variant Myanmar music.

The Indian mind is cultured with philosophy, psychology, ritualism and prophecies of sages of old. The entire gamut of music and dance bind their lives to the wheel of progress of the country and above all insulate them from aping bastardised cultures of the west in their so-called aesthetics and dress sense and behavioral patterns, we Sri Lankans welcome with both hands.

Half nude dresses, tight-fitting slacks worn by women delineating their buttocks, young women and girls holding young men and boys by their biceps, and visiting Buddhist Viharas in these sensual dresses and modes of behaviour are alien to the Indians. This is my well-studied conclusion having had long and enduring rapport with the average Indians over many years.