Re: Download Film Shastra Indonesia Full Movie Mp4
Vanina Mazzillo
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I studied filmmaking at the FTII in Pune, then worked as a writer and an assistant director in Mumbai and have for more than a decade now, also taught filmmaking and screenwriting. I have studied Field and Egri; Campbell and Vogler; Cron, Snyder and Hauge, and although they do inform on how to structure stories; nothing really explains how to create drama and evoke emotion better than the Natyashastra, in the Indian Aesthetic Tradition.
Kavya is created to evoke pleasure and is one of the 64 pleasurable arts listed in the Kamasutra. The Kamasutra (aphorisms on pleasure) and the Kamashastra (science of pleasure) form part of the social background of Kavya. Kama (pleasure), Artha (security), dharma (ethics), and moksa (spiritual liberation) were accepted as the four objectives of human life (purushartha) in the Indian philosophical tradition.
It is the means of creation of this rasa-experience that has been studied, discussed and commented in over 500 extant treatises on poetics from the time of the Natyashastra (approx. 500 CE) till the middle of the 18th century. These works can be roughly divided into six schools of thought based on their principal focus of inquiry. These are alamkara (figures of speech and sense); rasa (aesthetic delight); riti (style & structure); vakrokti (oblique expression); aucitya (propriety) and dhvani (suggestion).
The earliest extant work on poetics and dramaturgy in the Indian subcontinent is the Natyashastra. Although traditionally attributed to Bharata, its authorship as well as its birth have remained a matter of speculation since the re-discovery of the first of its many extant manuscripts in 1865. In 1903, archaeological excavations found theatre houses built to Natyashastra prescriptions in the state of Chhattisgarh in eastern India. T. Bloch dates this theatre to before 300 BCE. Further, in its chapters describe the origin of drama and the sections that speak of gesture, gait, dance and acting, deities are invoked that have pre-Aryan origins and this has led scholars to posit for a Harappan origin to the Natyashastra as well.
However, despite all the doubts surrounding its origins, the Natyashastra remains one of the most important works on dramaturgy in India. This compilation in thirty-seven chapters and 5569 verses begins with a brief mythic-metaphoric explanation on the origin of drama before discussing the details of various kinds of play-house & stage architecture, then lists and explains gestures and movements in the varied kinds of dance, ways of introducing a dramatic act; a methodology of how emotion may be evoked in an audience; playwriting; performance and acting with the voice, the eyes, the head and the limbs; verbal presentation and prosody; styles of theatre; semantics, morphology and the phonology of dialects; types of characters; varieties of plot construction and structural attributes of a play including how characters and stories may unfold within and over acts; costume, jewellery & makeup; production & spectatorship; music- types and merits of string, wind and percussion instruments, melody and song, beat, rhyme and rhythm.
The Kavya tradition in India informs us that the artist is someone who is able to create an artwork that puts forth something that he has to say. However the way of saying must not be instructive but rather, entertaining. The Natyashastra suggests that this communication may be categorised under either of three principal objectives that govern a human life.
Drama is created through chasing desires, failing them and trying again anew. According to the Natyashastra, audience tension, suspense and excitement must be built with a variety of three kinds of character actions repeating themselves in varying rhythm through the narrative:
Now the seed of the artha-prakriti is hinted at in a scene between Raj and the Chaudhry. Raj tries to con the Chaudhry, gets caught but makes off with the beer anyways. This scene hints at the way he will try to win Simran as well.
2. Pratimukha Sandhi: This is the stage of the unfolding of the character and the plot. Characters are collided so that they are tested and the truth about their fears and desires begins to surface.
At the same time, he collides with Simran, a girl who comes from traditional mores, and will not take kindly to flirting or insincerity. He flirts with her at the beginning out of sheer habit, but when she rebuffs him, it begins a cycle of prapti, aprapti, anveshana in the as yet nascent romance between the two. In the guise of Raj and Simran, Modernity and Tradition battle it out for relevance. It also serves as a way for the two to get to know and trust each other and become friends before lovers.
3. Garbha Sandhi: This is a stage of further development of the artha-prakriti, when the character has gone so far on their journeys that they cannot go back, their actions have become consequential and it is finally revealed what the film is going to be about, and what will have to be fought for.
In the Indian Aesthetic Tradition, these Sandhis can be used in various ways. It is not necessary for them to be in order, and they can even be fused together. But it is advised that some form of each Sandhi be used so as to form parts of an argument and communicate what the writer feels.
This one aphorism explained, debated, discussed and re-interpreted over the next 1500 hundred years becomes the aesthetic principle to govern not just poetry and drama, but also painting, sculpture and music. Its finest explanation and commentary comes to us from the critical writings of Abhinavagupta in 1000 C. E.
Bhava is Sanskrit for state of being, while Rasa is flavour, fluid and feeling. Bhavas can be static but Rasas must flow. Bhavas are cognitive states that are forged in film through an interplay of action, situation and dialogue. For Rasa in drama we need three kinds of Bhavas:
1. Vibhava (Determinant Situation): That which causes a character to react with gesture, word or action is vibhava. We must be able to either see or hear this. This is the basic dramatic situation poised for turn, the beat of a scene. Vibhava needs two things:
For example, lets take a scene from Dilwale Dulhania Le Jayenge. So, in DDLJ, lets take the scene where Chaudhry Baldev Singh (Amrish Puri) is shutting shop and Rocky (Karan Johar) asks him for beer.
3. Vyabhicharibhava (transient emotions): As the determinant situation develops to greater or lesser excitation (but never equilibrium), it leads to transient and fleeting emotions to occur in characters, which lead to either completely new or an intensification of the Vibhava-Anubhava.
According to Samkhya philosophy, feelings arise as a result of the continuous disequilibria of the three states of consciousness: sattva (thought, intelligence and clarity); rajas (energy and movement); tamas (inertia and factors of obstruction). Feelings change with consciousness reacting to changes in external stimuli, and that perhaps is another way to understand rasa. Emotional states occur as manifestations of collisions of thought, energy and inertia in differing intensity.
I am aware that my investigations may have made inadvertent errors in translation and interpretation, and I might even offend some by extending the use of principles of playmaking to filmmaking. I humbly beg forgiveness for any such errors, and ask the reader to look past them and make this article a starting point for a new way of approaching dramaturgy and filmmaking theory in India.
Finally, the Natyashastra is a training manual written in aphorisms and comments in Sanskrit. It suffers from all the social prejudices that were characteristic of its time. However, one needs to look past them and try to discuss its concepts not only in the light of what the ancient scholars might have meant, but rather also at how it is relevant to us in trying to understand writing for the screen today, especially in India.
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