भरत मुनि प्रणीत नाट्यशास्त्र Bharata Muni’s NATYA SHASTRA (Sanskrit text + Sanskrit commentary + Hindi translation and commentary)
Manish Modi
भरत मुनि प्रणीत
नाट्यशास्त्र
Bharata Muni’s
NATYA SHASTRA (Sanskrit text + Sanskrit commentary + Hindi translation and commentary)
With
‘Abhinavabhāratī’ Sanskrit commentary by Abhinavagupta,
‘Manorama’ Hindi translation & commentary by Dr Parasnath Dvivedi
Introductions by Prof Yadunathprasad Dubey, Prof Rajendra Mishra & Prof Ramamurti Sharma
Set of 4 books
2015 24 x 17 cm 2806 pages Hardcover [5.5 kilos]
₹ 1540
http://www.navelgazing.net/2018/05/bharata-munis-natya-shastra-sanskrit.html
The Nāṭyaśāstra (Sanskrit: नाट्यशास्त्र, nāṭyaśāstra) is an ancient Indian treatise on the performing arts encompassing theatre, dance and music. While it primarily deals with stagecraft, it has come to influence music, dance and literature. The text covers stage design, music, dance, makeup, and virtually every other aspect of stagecraft. It is very important to the history of Indian classical music because it is the only text which gives such detail about the music and instruments of the period. Thus, an argument can be made that the Nāṭyaśāstra is the foundation of fine arts in India.
The most authoritative commentary on the Nāṭyaśāstra is the Abhinavabhāratī by Abhinavagupta. This commentary is so profound and well written, that it fits in seamlessly with the original text and gives a deeper insight into the original work. For the first time, this commentary has been given in Sanskrit, along with a Hindi translation.
The original text comprises of 6000 verse stanzas incorporated in 36 chapters attributed to the muni (sage) Bharata. Some scholars believe that is the work of several scholars, not one person. It has also been suggested that Bharata is an acronym for the three syllables: bha for bhāva {mood/emotion/disposition}, rā for rāga {melody}, and ta for tāla {rhythm}. However, in traditional usage Bharata has been iconified as a muni or sage, and the work is strongly associated with this personage.
The discourse is set in a frame where a number of munis approach Bharata, asking him about nāṭya. The answer to this question comprises the rest of the book, which is thus loosely a dialogue. The Nāṭyaśāstra ranges widely in scope, from issues of literary construction, to the structure of the stage (maṇḍapa), to a detailed analysis of musical scales and movements (mūrchanas), to an analysis of dance forms that considers several categories of body movements, and their impacts on the viewer. It also educates the spectator in observing correct behaviour while watching a performance. It also deals in the theory of rasa {dominant emotional theme}.
Bharata describes 15 types of drama ranging from one to ten acts. The principles for stage design are laid down in some detail. Individual chapters deal with aspects such as makeup, costume, acting, directing, etc. A large section deals with meanings conveyed by the performance (bhāvas) get particular emphasis, leading to a broad theory of aesthetics (rasas).
Four kinds of abhinaya (acting) are described – physical (aṅgika), verbal (vācika), that by costumes and makeup (āhārya), and the highest mode, by means of internal emotions, expressed through minute movements of the lips, eyebrows, ear, etc. (sāttvika).
It delineates a detailed theory of drama comparable to the poetics of Aristotle. Bharata argues that there are eight broad categories of rasas {dominant emotions}: love, pity, anger, disgust, heroism, awe, terror and comedy, and that plays should mix different rasas but be dominated by one.
Each rasa experienced by the audience is associated with a specific bhāva portrayed on stage. For example, in order for the audience to experience śṛṅgāra (the 'erotic' rasa), the playwright, actors and musician work together to portray the bhāva called rati (love/coitus).
The Nāṭyaśāstra is one of the first major texts that dealt with music at length. It was considered the defining treatise of Indian classical music until the 13th century, when the stream bifurcated into Hindustani Classical music in Northern India and Carnatic Classical music in Southern India.
While much of the discussion of music in the Nāṭyaśāstra focuses on musical instruments, it also emphasizes several theoretical aspects that remained fundamental to Indian music:
The Nāṭyaśāstra remained an important text in the fine arts for many centuries; so much so that it is sometimes referred to as the fifth Veda. Much of the terminology and structure of Indian classical music and Indian classical dance were defined by it. Many commentaries have expanded the scope of the Nāṭyaśāstra; most importantly we may include Matanga's Bṛhaddeśī (500–700 CE), Abhinavagupta's Abhinavabhāratī (which unifies some of the divergent structures that had emerged in the intervening years, and outlines a theory of artistic analysis) and Sharangadeva's Saṅgīta Ratnākara (13th century work that unifies the rāga structure in music).
The analysis of body forms and movements also influenced sculpture and the other arts in subsequent centuries. The structures of music outlined in the Nāṭyaśāstra retain their influence even today, as seen in the seminal work Hindustani Sangeet Paddhati by Vishnu Narayan Bhatkhande from the early 20th century. The theory of rasa described in the text has also been a major influence on modern Indian cinema.
We are immensely proud to sell the Nāṭyaśāstra and other gems of Indian literature at our bookstore and through mail order. We ship books nationally and internationally.
Best regards,
Manish Yashodhar Modi
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