It is difficult to say how the drama came out in India and how it developed, but it is definitely that the way the Vedas and Puranas have been a Shruti tradition to transfer the Puranas from one generation to another, at the same time the need to tell the story more effectively would have considered it necessary to show the scene.
The visual adaptation of a story would have become a drama by going forward and this art developed with the development of Vedic and mythological tradition. This must have been the reason that Bharat Muni’s Natyashastra was promoted with a different Veda noun, although it is part of the Samaveda itself, where knowledge of songs and dances is contained. In this way, there must have been an unwritten history of at least 8000 years of Indian theatrical art, it can be believed.
The tradition of Indian theater is deep and infinite like an ocean, which has been mesmerizing the human mind with its waves for at least 5000 years (with its written history). It is not only an art, but a complete life philosophy, in which there is amazing coordination of literature, music, dance, painting, sculpture and architecture.
When we look into its roots, we get that holy book “Natyashastra” of Bharat Muni, which was called the grammar of theatrical. It was the first book in the world, which systematically presents the principles of theatrical. Its composition is considered to be between 2000 BC to the fourth century AD, which is a proof of its antiquity and intensity.
Narrative
The drama in India originated as a narrative style. Singing, playing and dance became its integral part. This was the narrative, which made the Indian theater dramatic and lively from the beginning. The theater here was not only a means of entertainment, but it was a means of tasting and understanding the juice of life. Here, the depth of literature, the subtlety of the mime, the melodiousness of music, the rhythm of the dance, the colorfulness of the painting and the stability of the sculpture together gave rise to the unique art called “Natya”, which became the soul of Indian culture.
Classical Sanskrit Natyakala: A Golden Age
The earliest and classical form of Indian drama was Sanskrit Natyakala. It emerged between the second century BC to the first century AD and remained at its peak from the first to the tenth century. This was the period when there was relative peace in India and hundreds of plays were composed. After the Greek and Roman theater and before the rise of the Asian Theater, Sanskrit Natyakala created a distinct identity on the world stage.
Sanskrit plays were divided into two major categories: folk religion and theater. Folklore drama used to present daily life and human behavior in a realistic manner, while theatrical plays made art more artistic and emotional through stylistic gestures and symbols. This duality was a symbol of diversity and prosperity of Indian drama.
Great Sanskrit playwright and his classical compositions
Many playwrights left their indelible impression in the history of Sanskrit drama. The first name of Ashwaghosh comes, who wrote “Sariputrapraran”. The play revolves around a prostitute, which presents a unique mixture of humor and Buddhist teachings. After this, Bhasa came, whose thirteen compositions are still alive. His “dreamingwide” is a work that touches the fine line between love and dreams. Bhasa took inspiration from the Ramayana, Mahabharata and the Puranas, making his plays a timeless.
Shudrak added a new dimension through “Mrichkatika”. The presence of the hero-heroine as well as the villain in his plays makes him unique. This element of struggle was rare in Sanskrit plays. Then came Kalidas, who is considered to be the Shiromani of Sanskrit literature. His “Shakuntalam”, “Malvikagnimitra” and “Vikramorvashi” are such an expression of love, nature and human sensations that still touch the heart.
Bhavabhuti made his mark in the latter part of the classical period with “Uttararamcharitra”. This drama shows that part of Rama’s life, which is full of sorrow and sacrifice, yet it has a deep emotional beauty. Shudrak, Harsh, Visakhadatta, Bhasa, Kalidas and Bhavabhuti – These are the six playwrights of Sanskrit Natyakala, who made this art immortal with their compositions.
Sanskrit plays and structure
Dramas in Natyashastra were classified into ten types: drama, Prakrita, Numerals, Exercise, Bhana, Savakar, Vithi, Phahsan, Dima and Esthagra. Of these, “drama” and “nature” were the most prominent. The “plays” were of five to seven digits, presenting deep stories, while the “Prakrita” was based on the original imagination of the author. Plays like “Shakuntalam” and “Uttararamcharitra” fall in this category.
The presentation of Sanskrit plays was like a ritual. It started with “Purnarang”, in which stage was prepared with music and dance. The Sutradhar and his auxiliary used to worship the god of the theater, so that the success of the play was ensured. After this, the time, place and writer were introduced in the preamble. This structure made the play a sacred and emotional experience.
Decline of Sanskrit Drama
Like every golden era, Sanskrit drama also collapsed. There were many reasons for this. As the inclination of playwrights moved towards the poem, the dramaticness began to lose in lyricalism. Hard conservatism took away the freedom of new creators. Due to being limited to the religious region, it got away from the general public. And eventually, Muslim invasions pushed this art further back. But its effect and its soul never ended.
Indian folk drama: voice of people
While Sanskrit drama touched the heights of classicalism, folk drama strengthened its roots with the soil of public life. Its seeds are seen in Vedic period and Buddhist literature, but in the medieval period it flourished completely. In the 15th-16th century it emerged as a depiction of Puranas, epics and myths.
Folk drama was created in narrative. Here stories with dance, music, masks and chorus used to come alive. It has its own looks in every state of India-“Therukuttu” of Tamil Nadu, “Tamasha” of Maharashtra, “Bhavai” of Gujarat or “Jatra” of Bengal. This drama was not only entertainment, but it was a lively document of culture and tradition.
Coordination of nine juices
In Indian theater, “nine rasa” – makeup, humor, compassion, raudra, hero, terrible, bibhata, amazing and quiet – are seen in amazing inclusion. The folk theater took these rasas to the people, then the classical drama refined them. This juice separates the Indian drama from other traditions of the world.
Indian drama is not just an art, but a cultural journey, which is going on uninterrupted from ancient times to the modern era. This is the mirror in which we have our civilization, sensations and dreams. Whether it is the classicality of Sanskrit drama or the vibrancy of folk theater, both of them together gave a form to the Indian theater that still inspires us by crossing the limits of time. This tradition is not only proud of our past, but also a precious heritage for the future.