DOCSLIB.ORG

Indian Theatre: Forms of Indian Theatre and Classical Sanskrit Theatre- Examrace

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Indian Theatre: Forms of Indian Theatre and Classical Sanskrit Theatre- Examrace 9/27/2021 Indian Theatre: Forms of Indian Theatre and Classical Sanskrit Theatre- Examrace Examrace Indian Theatre: Forms of Indian Theatre and Classical Sanskrit Theatre Get unlimited access to the best preparation resource for competitive exams : get questions, notes, tests, video lectures and more- for all subjects of your exam. Indian Theatre – Beginning Kalidas, Ashvaghosa, Bhasa, Shudraka, Harsha, Bhavabhuti, Vishakadatta, Bhatta Narayana, Murari and Rajasekhara Sitabena and Jogi Mara caves represent the world՚s oldest amphitheaters. In Bharat Muni՚s Natya Shastra, Brahma created Natya Veda for pastime of gods, combining elements of the four vedas. In it, types of play described and covered all aspects of classical Sanskrit literature. The vedas and Upanishads have reference of theatre or drama. The most famous and talented dramatists of the ancient era are Kalidas, Ashvaghosa, Bhasa, Shudraka, Harsha, Bhavabhuti, Vishakadatta, Bhatta Narayana, Murari and Rajasekhara. Vijai Tendulkar gave a new dimension to the Indian theatre. Modern Kannada theatre had a beginning in 1918 with the staging of a drama by T. P. Kelaram. Tamil drama has its beginning in the 19th century. In 1852 - 53, the famous ″ Parsi Theatre ′ started in Bombay. After 1947, Bengali Theatre has also seen a change in style and technique. State Academies were also established in most of the states in 1950s. Forms of Indian Theatre Classical Indian Dance Drama - Kathak, Bharatanatyam, Odissi, Kuchipudi, Mohiniyattam and Yakshagana Traditional Indian theatre – Jatra, Rasleela, Bhavai, They yam Indian Folk Theatre - Veethi Nataka, Burraktha Indian Puppet theatre - String puppets, rod puppets and glove puppets Modern Indian theatre -amateur and experimental Indian Street Theatre - Short, direct, near and effective 1. Classical Indian Dance Drama - Developed in the early 15th century. Became a much cherished art form of the classical Hindu temple culture. 2. Traditional Indian theatre - Performance mainly connected with various Hindu religious trends and religions and was mainly performed by the devotees. 3. Indian Folk Theatre Associated with times of ancient rimes. Indian folk theatre categorized into two distinct categories like the secular and religious. 4. Indian Puppet theatre Indian theatre witnessed a marked change with the introduction of the Indian puppet theatre. Shadow puppetry became popular as one of the classical forms of the Indian theatre. 5. Modern Indian theatre Contemporary Indian theatre can be found back to the British era. Added that contemporary tinge to the age old aspects of Indian drama. Change was marked in the dramatic form. Developed due to the change in the socio political set up in India. 6. Indian Street Theatre: Contemporary forms of Indian theatre. Developed as an art form to illustrate the feelings of common people. Classical Sanskrit Theatre Theatre in India began as a narrative art form. 1 of 9/27/2021 Indian Theatre: Forms of Indian Theatre and Classical Sanskrit Theatre- Examrace Encompassed a concoction of music, dance and acting. Recitation, dance and music integral parts of theatre. Rupaka, Drishyakvya and Preksakavya also used to describe drama. In ancient India, plays were generally two types: Lokadharmi: Realistic depictions of daily life Natyadharmi: Conventional plays with a more stylized narration and overt symbolism. First example of classical Sanskrit drama Sariputraprakarana by Ashvaghosa 3 works - Malavikagnimitra, Vikramorvashi and Shakuntala ©Examrace. Report ©violations ＠https://tips.fbi.gov/ 9 Act play. Composed 13 plays in the period between 4th – 5th century B. C. Shudraka. His three works: Other examples of plays are Uttaramacharitra and Mahaviracharitra by Bhavabhuti, Mudra rakshasa by Vishakadatta and Ratnavali by Harshavardhana. Reasons for Decline 2 of 9/27/2021 Indian Theatre: Forms of Indian Theatre and Classical Sanskrit Theatre- Examrace ©Examrace. Report ©violations ＠https://tips.fbi.gov/ 4 to 7 act plays Always happy ending Protagonist was male Well defined opening, progression, development, pause and conclusion. Started with number of pre-play rituals (Purva-raga) . Most of performed behind curtain. Sutra Dhar Stage manager and director, entered the stage with his assistance, dressed in white, offer worship to the deity Theatre as per Bharata, accommodate around 400 persons. Two-storied - Curtains were used to intensify the impact of play. Masks were not used. The ‘Natya Shastra’ focuses on only two of these types – the ‘Nataka’ and ‘Prakarna’ . Plays falling into the category of the ‘Nataka’ include ‘SwapnaVasavdattam’ , ‘Uttaramacharitra’ and ‘Shakuntala’ . Love and heroism are the dominant sentiments of these plays, which range between five and seven acts. Plays falling into the category of ‘Prakarna’ narrate stories that were invented by their authors in which the story revolves around a hero and a heroine, with love being the predominant sentiment. ‘Anka’ or Act is made up of a series of incidents that are related to the major character. Koothiyattam (Kudiyattam) 3 of 9/27/2021 Indian Theatre: Forms of Indian Theatre and Classical Sanskrit Theatre- Examrace ©Examrace. Report ©violations ＠https://tips.fbi.gov/ India՚s oldest continuing form of theatre. Survived since 10th century A. D. in Kerala. Completely adheres to the rules laid down in Natya Shastra. Performed in Sanskrit, Prakrit and Malayalam with Mizhavu and Edakka providing background music. All the character begins the play with Nirvahana. Margi Madhu Chakyar leading exponent of this art form. In 2001, officially recognized by UNESCO as a Masterpiece of the Oral and Intangible Heritage of Humanity. Indian Folk Theatre 4 of 9/27/2021 Indian Theatre: Forms of Indian Theatre and Classical Sanskrit Theatre- Examrace ©Examrace. Report ©violations ＠https://tips.fbi.gov/ India boasts of a rich tradition of folk theatre in various part of India. Folk theatre had rural roots and rustic flavor was reflected in the dramatic style involved. In Post-independence period it became more popular method of distribution of social wisdom than mere social entertainment. Ritual Theatre 5 of 9/27/2021 Indian Theatre: Forms of Indian Theatre and Classical Sanskrit Theatre- Examrace ©Examrace. Report ©violations ＠https://tips.fbi.gov/ 6 of 9/27/2021 Indian Theatre: Forms of Indian Theatre and Classical Sanskrit Theatre- Examrace 7 of 9/27/2021 Indian Theatre: Forms of Indian Theatre and Classical Sanskrit Theatre- Examrace ©Examrace. Report ©violations ＠https://tips.fbi.gov/ Ankia Nat: Traditional one-act play of Assam. Started by famous Vaishnava Saint Shankardeva. Performed in the style of opera. Use of masks to depict special expressions. Kala: Ancient folk theatre of the Vaishnavite tradition. Popular branches of Kala: Dash avatar Kala, Gopal Kala and Gaulan Kala Ramlila: Popular folk theater in the region of Uttar Pradesh. Generally performed by male actors, who don the role of Sita Raslila: Dance drama enactment of adolescent love stories of/Krishna and/Radha, popular in region of Gujarat. Bhuta (Spirit) : Traditional practice of worshipping dead ancestors, prevalent in the Kannara district of Karnataka. Raman: Part of a religious festival in the Garhwal region of Uttarakhand. Accompanied by the performance of local songs and masked dances. Entertainment Theatre ©Examrace. Report ©violations ＠https://tips.fbi.gov/ 8 of 9/27/2021 Indian Theatre: Forms of Indian Theatre and Classical Sanskrit Theatre- Examrace ©Examrace. Report ©violations ＠https://tips.fbi.gov/ 9 of 9/27/2021 Indian Theatre: Forms of Indian Theatre and Classical Sanskrit Theatre- Examrace ©Examrace. Report ©violations ＠https://tips.fbi.gov/ Bhavai: Popular folk theatre form of Gujarat and Rajasthan, mainly in the region of Kutchh and Kathiwar. Theme of play: Generally Romantic Sutradhra is known as Nayaka in Bhavai Theatre. Daskathia: Folk theater popular in the region of Odisha. There are two narrators. Garodas: Popular form of ′ Garoda Community of Gujarat. Uses painted pictures to narrate stories of romance and valour. Jatra: Popular folk theatre of Eastern India. Initiated by Vaishnava saint Sri Chaitanya. In Odisha, popular form of street theatre known as Sahi Jatra is prevalent. Kariyila: Open air theatre. Popular in the foothills of Himachal Pradesh. Normally performed around the Dussehra festival. Maanch: Folk theatre of the region of Malwa in Madhya Pradesh. Based on mythological themes. Delivered in the form of couplets known as Rangat Dohas. Nautanki: Popular theatre form of theatre in North India. Accompanied by beats of a drum called Nagara. Oja-Pali: Unique narrative theatre form of Assam. Primarily associated with the festival of Manasa or serpent goddess. Oja is the main character. Powada: A play was written lauding the heroics of Shivaji, later known as Powada. Popular mainly in the region of Maharashtra. Swang: Another popular source of entertainment in the region of Punjab and Haryana. Mainly musical dramas sung through verses. 10 of 9/27/2021 Indian Theatre: Forms of Indian Theatre and Classical Sanskrit Theatre- Examrace Tamasha: Form of folk theatre in the region of Maharashtra. Known for its humor and erotic content. Accompanied by Lavani songs Villu Pattu: Villu Pattu means bow-song. Form of musical theatre popular in Deccan, stories of Ramayana. South Indian Theatres ©Examrace. Report ©violations ＠https://tips.fbi.gov/ 11 of 9/27/2021 Indian Theatre: Forms of Indian Theatre and Classical Sanskrit Theatre- Examrace ©Examrace. Report ©violations ＠https://tips.fbi.gov/
Load more

Recommended publications
  • Bhavai Introduction and History
    Paper: 2 Relationship Of Dance And Theatre, Study Of Rupaka And Uparupaka, Traditional Theatres Of India Module 11 Bhavai Introduction And History Bhavai is an extraordinary and unparalleled example of performing arts in Gujarat. It is rich with history, acting, dramatic inspiration and pleasure. There is free flow of the power of imagination. Sharp writing that focuses on important lessons for life revolves around a pithy story. New ideals of youth are chiseled out. Bhavai is an inspiration and holds a mirror to youth. Therefore there is a rationale behind the study of Bhavai. The following is a sketch of the proposed programme: 1) Arrive at fundamental resolutions to discuss how Bhavai can fit into the modern era. 2) Explore the resolutions necessary to accustom to the contemporary era, and where to derive advice and consultations for the same? 3) Brainstorming over means to encourage Bhavai performances. Thinking about solutions like organising competitions, monoacts, and writing on new situations and encouraging other actions on similar thought. 4) To popularise the best Bhavai acts ever staged 5) To think about the possibilities and means by which Bhavai performers can contribute to the Indian governments initiatives, 1 just like people from other professions/disciplines are contributing in their own manner. 6) To organise all Bhavai groups on a common platform 7) To make efforts to address the existential issues of all Bhavai groups 8) To provide systematic training to rising stars of Bhavai so that the art form can exist in the contemporary times. Also for the development of the said artists, make efforts to set up a respective social role so that Bhavai performers as well as the Bhavai genre can prosper and the grand legacy of Bhavai folk art is sustained.
    [Show full text]
  • The Role of Indian Dances on Indian Culture
    www.ijemr.net ISSN (ONLINE): 2250-0758, ISSN (PRINT): 2394-6962 Volume-7, Issue-2, March-April 2017 International Journal of Engineering and Management Research Page Number: 550-559 The Role of Indian Dances on Indian Culture Lavanya Rayapureddy1, Ramesh Rayapureddy2 1MBA, I year, Mallareddy Engineering College for WomenMaisammaguda, Dhulapally, Secunderabad, INDIA 2Civil Contractor, Shapoor Nagar, Hyderabad, INDIA ABSTRACT singers in arias. The dancer's gestures mirror the attitudes of Dances in traditional Indian culture permeated all life throughout the visible universe and the human soul. facets of life, but its outstanding function was to give symbolic expression to abstract religious ideas. The close relationship Keywords--Dance, Classical Dance, Indian Culture, between dance and religion began very early in Hindu Wisdom of Vedas, etc. thought, and numerous references to dance include descriptions of its performance in both secular and religious contexts. This combination of religious and secular art is reflected in the field of temple sculpture, where the strictly I. OVERVIEW OF INDIAN CULTURE iconographic representation of deities often appears side-by- AND IMPACT OF DANCES ON INDIAN side with the depiction of secular themes. Dancing, as CULTURE understood in India, is not a mere spectacle or entertainment, but a representation, by means of gestures, of stories of gods and heroes—thus displaying a theme, not the dancer. According to Hindu Mythology, dance is believed Classical dance and theater constituted the exoteric to be a creation of Brahma. It is said that Lord Brahma worldwide counterpart of the esoteric wisdom of the Vedas. inspired the sage Bharat Muni to write the Natyashastra – a The tradition of dance uses the technique of Sanskrit treatise on performing arts.
    [Show full text]
  • The Idea of Gujarat History, Ethnography and Text
    The Idea of Gujarat History, Ethnography and Text Edited by EDWARD SIMPSON and MARNA KAPADIA ~ Orient BlackSwan THE IDEA OF GUJARAT. ORIENT BLACKSWAN PRIVATE LIMITED Registered Office 3-6-752 Himayatnagar, Hyderabad 500 029 (A.P), India e-mail: [email protected] Other Offices Bangalore, Bhopal, Bhubaneshwar, Chennai, Ernakulam, Guwahati, Hyderabad, Jaipur, Kolkata, ~ . Luoknow, Mumba~ New Delbi, Patna © Orient Blackswan Private Limited First Published 2010 ISBN 978 81 2504113 9 Typeset by Le Studio Graphique, Gurgaon 122 001 in Dante MT Std 11/13 Maps cartographed by Sangam Books (India) Private Limited, Hyderabad Printed at Aegean Offset, Greater Noida Published by Orient Blackswan Private Limited 1 /24 Asaf Ali Road New Delhi 110 002 e-mail: [email protected] . The external boundary and coastline of India as depicted in the'maps in this book are neither correct nor authentic. CONTENTS List of Maps and Figures vii Acknowledgements IX Notes on the Contributors Xl A Note on the Language and Text xiii Introduction 1 The Parable of the Jakhs EDWARD SIMPSON ~\, , Gujarat in Maps 20 MARNA KAPADIA AND EDWARD SIMPSON L Caste in the Judicial Courts of Gujarat, 180(}-60 32 AMruTA SHODaAN L Alexander Forbes and the Making of a Regional History 50 MARNA KAPADIA 3. Making Sense of the History of Kutch 66 EDWARD SIMPSON 4. The Lives of Bahuchara Mata 84 SAMIRA SHEIKH 5. Reflections on Caste in Gujarat 100 HARALD TAMBs-LYCHE 6. The Politics of Land in Post-colonial Gujarat 120 NIKITA SUD 7. From Gandhi to Modi: Ahmedabad, 1915-2007 136 HOWARD SPODEK vi Contents S.
    [Show full text]
  • Gujarati Bhavāi Theatre
    P: ISSN NO.: 2394-0344 E: ISSN NO.: 2455 - 0817 Vol-II * Issue-VI* November - 2015 Gujarati Bhavāi Theatre: Today and Tomorrow Abstract Bhavāi, pioneered in the fourteenth century by Asāit Thākar, has been a very popular folk theatre form of Gujarat entertaining and enlightening Gujarati people and incorporating cultural ethos, mythology, folklores, History, dance and music in itself. The paper „Gujarati Bhavāi Theatre: Today and Tomorrow‟ endeavours to study the present scenario of Bhavāi theatre in Gujarat and undertakes to examine issues and challenges of survival and revival of Bhavāi in the age of globalization. While the local issues are more seriously addressed by the elite in the global age, a study of the present state of Bhavāi would be both eye-opening and fruitful. Among the major issues and challenges of Bhavāi include poor financial condition of Bhavāi players, lack of sponsorship, lack of Bhavāi training centres, lack of technology in promotion of Bhavāi, dominance of the main stream Gujarati literature and theatre, popularity of Commercial Theatre in urban areas, influence of television and the Internet, lack of comparative study/research of Bhavāi with other Indian folk theatre forms. The paper also proposes strategies for survival and revival of Bhavāi as the folk theatre form of Gujarat. Developing sense of contribution to the seven hundred years long tradition of Bhavāi, systematic training to Bhavāi players, establishment of Bhavāi Training Centres, introducing Bhavāi to the new generation, inclusion of Bhavāi in the syllabi of literature students, financial support from Corporate Houses, NGOs and State Government are but some of the most significant strategies to be developed for the survival and revival of Bhavāi in the age of globalization.
    [Show full text]
  • Bhavai in Gujrat.Pdf
    Bhavai in Gujarat Discover India Program 2019-2020 1 Certificate This is to certify that the work incorporated in this report titled “Bhavai in Gujarat” submitted by the undersigned Research Team was carried out under my mentorship. Such material as has been obtained from other sources has been duly acknowledged. Sr. No Name Designation Signature 1 Sowjanya Kandi Group Representative, Finance Team. Logistics Team 2 Anushka Prapanna Logistics Team, On-field Researcher 3 Anvita Kotha Editor 4 Arushi Chopra On-field Researcher, Writer 5 Chaitya Shah On-field Researcher, Finance Team 6 Ishita Singh Documentary Team 7 Keerthi Gaddam Writer, Content Team 8 Shristi Chhajer Content Team, Documentary Team 9 Shruti Shete Content Team 10 Siddhant Nair Content Team 11 Sravanthi Vempalli Head Writer, Content Team 12 Sukriti Mittal Content Team, On-field Researcher 13 Taarini Mocherla Content Team 14 Tanishq Puri Illustrator, On-field Researcher 15 Vinamra Pattapu Documentary Team Mentor Name: Suniti Vadalkar Signature: Date: i Table of Contents Certificate i Acknowledgements iv Abstract 1 Chapter 1:Introduction 3 1.1 Overview of Bhavai 3 1.2 Geographical Information 3 1.3 Research Statement 4 1.4 Aims and Objectives 5 1.5 Research Methodology 5 Chapter 2: Literature Review 8 2.1 Introduction 8 2.2 Elements of Bhavai 8 2.3 Bhavai: Religion, Caste, and Gender 12 2.4 Bhavai in the 21st Century 14 2.5 Gaps in the literature 15 Chapter 3: The Art Form 17 3.1.Origin Of Bhavai 17 3.2 Intricascies of Bhavai 19 3.3 Role of Religion 21 3.4 Vulgarity in Bhavai 22 3.5 Social Awareness in Bhavai 23 Chapter 4: The Artists 25 4.1 Gender in Bhavai 25 4.2 Caste in Bhavai 28 4.3 Socioeconomic 30 Chapter 5: Conclusion 33 5.1 Limitations and Scope for Further Study 34 References 36 Figures 37 ii List of Interviewees 41 iii Acknowledgements DIP has been an incredible learning experience, which would not have been possible without the help of a few people.
    [Show full text]
  • Issn 2454-8596 Portrayal of Rural Society in Pannalal
    ISSN 2454-8596 www.vidhyayanaejournal.org An International Multidisciplinary Research e-Journal ----------------------------------------------------------------------------------------------------------------------------------------------------------- PORTRAYAL OF RURAL SOCIETY IN PANNALAL PATEL’S MANVINI BHAVAI Mr. Nilesh K. Vaja Research Scholar, Dept. of English & CLS, Saurashtra University, Rajkot. Dr. Firoz A Shaikh Associate Professor & Head, Dept. of English, Bhakta Kavi Narsinh Mehta University, Junagadh. Special Issue – I n t e rnational Online Conference Page 1 V o l u m e V I s s u e 5 , M AY - 2020 ISSN 2454-8596 www.vidhyayanaejournal.org An International Multidisciplinary Research e-Journal ----------------------------------------------------------------------------------------------------------------------------------------------------------- Abstract: Pannalal Patel (1912-1989) is an innate and prestigious quality literary artist. His literary work Manvini Bhavai is considered the masterpiece of a regional novel. The translator professor V Y Kantak who translated the novel as Endurance: A Droll Saga in English is an eminent academician and critic, has very successfully retained the essential simplicity, the regional flavor and the original spirit of the novel in English translation as closely as possible. Pannalal‟s sensitive heart comprehends the various experiences of rural life in such a way that we feel human life breathing and beating in a natural way and in his novels. Manvini Bhavai is a great masterpiece of Gujarati literature because of his inborn literary spontaneous talent and potential. He has successfully spread the fragrance of native land in the novel. Each novel of Pannalal is the reflection of society in its naked form and Manvini Bhavai is not an exception. Each chapter of the novel puts a mirror before the society that gives us the exact picture of the time in which it has been penned.
    [Show full text]
  • Issn 2454-859 Issn 2454-8596
    ISSN 2454-8596 www.vidhyayanaejournal.org An International Multidisciplinary Research e-Journal HISTROY OF GUJRATI DRAMA (NATAK) Dr. jignesh Upadhyay Government arts and commerce college, Gadhada (Swamina), Botad. Volume.1 Issue 1 August 2015 Page 1 ISSN 2454-8596 www.vidhyayanaejournal.org An International Multidisciplinary Research e-Journal HISTROY OF GUJRATI DRAMA (NATAK) The region of Gujarat has a long tradition of folk-theatre, Bhavai, which originated in the 14th-century. Thereafter, in early 16th century, a new element was introduced by Portuguese missionaries, who performed Yesu Mashiha Ka Tamasha, based on the life of Jesus Christ, using the Tamasha folk tradition of Maharashtra, which they imbibed during their work in Goa or Maharashtra.[1] Sanskrit drama was performed in temple and royal courts and temples of Gujarat, it didn't influence the local theatre tradition for the masses. The era of British Raj saw British officials inviting foreign operas and theatre groups to entertain them, this in turn inspired local Parsis to start their own travelling theatre groups, largely performed in Gujarati.[2] The first play published in Gujarati was Laxmi by Dalpatram in 1850, it was inspired by ancient Greek comedy Plutus by Aristophanes.[3] In the year 1852, a Parsi theatre group had performed a Shakespearean play in Gujarati language in the city of Surat. In 1853, Parsee Natak Mandali the first theatre group of Gujarati theatre was founded by Framjee Gustadjee Dalal, which staged the first Parsi-Gujarati play,Rustam Sohrab based on the tale of Rostam and Sohrab part of the 10th-century Persian epicShahnameh by Ferdowsi on 29 October 1853, at at the Grant Road Theatre in Mumbai, this marked the begin of Gujarati theatre.
    [Show full text]
  • Quest for Excellence
    1 Quest for Excellence A biography of Devendra Patel 1 2 Devendra Patel was born on 20 th October 1945 at Bayad, a small town in the district of sabarkantha, Gujarat. His native is Akrund, a small village there. He was born to Gandhian par- ents Jesingbhai Patel and Revaben Patel. His father jesingbhai saw India’s freedom movement from very close and played a major role in his small village too, to free it from the clutches of the landlords and colonial impositions. Akrund was owned by one such Phanse family with such rights, that he freed for the people. Still he had a mutual bond of respect for scholars like Krishna Kumar Phanse from the same family, against whom he fought. He put his one and only son in government primary school to study. To him, the best a father could give his son would be the best possible education. Those days, the newspapers reached the village centers by post the next day. Jesingbhai and others used to go to the school to read newspaper and in- spired his son to read newspapers to keep him aware of the world around. Those days, a new children weekly ‘Zagmag’ was started, that his son fondly liked to read, especially the, characters ‘Chhel ane Chhabo’ ,’Chhako-Mako’ and ‘Mia Fuski and Tabha Bhatt’ created by the writer Jivaram Joshi. By seventh level in school, he started reading mystery stories of N.J. Golibar, detective stories and books like ‘Baraf ni shahjadi’, without the knowledge of his father. In the meantime, a high school was started in a rental house 2 3 there.
    [Show full text]
  • The Emergence of Tragedy in Gujarati Theatre
    THE EMERGENCE OF TRAGEDY IN GUJARATI THEATRE: A Comparative Study of Three Dukhdarshak Natak (Plays) © Bridge Center, 2014 BRIDGE CENTER Buzau, Al. Marghiloman 245 bis, 120082 Tel. 0728394546 e-mail: [email protected] Romania, European Union Printed in Romania First published, 2014 ISBN 978-606-93502-3-2 All rights reserved. No part of this publication may be reproduced or transmitted, in any form or by any means, without permission. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The publishers have applied for copyright permission for those pieces that need copyright clearance and due acknowledgement will be made at the first opportunity. The views and contents of this book are solely of the author. The author of the book has taken all reasonable care to ensure that the contents of the book do not violate any existing copyright or other intellectual property rights of any person in any manner whatsoever. In the event the author has been unable to track any source and if any copyright has been inadvertently infringed, please notify the publisher in writing for corrective action. DIPAK BARKHADE THE EMERGENCE OF TRAGEDY IN GUJARATI THEATRE: A Comparative Study of Three Dukhdarshak Natak (Plays) Bridge Center 2014 4 Contents PREFACE…………………………………………….…………………………………7 ACKNOWLEDGEMENTS…………………………………………………………...9 INTRODUCTION The Development of Modern Theatre in India……………………………………………….12 The Development of Modern Gujarati Theatre……………………………………………....19
    [Show full text]
  • 1 Music & Dance, Drama/Theatre
    CONTENT 1. MUSIC 1-2 1.1 Progress in Music and Dance During Ancient Age 1 1.2 Progress in Music and Dance During Medieval Age 1 2. HINDUSTANI MUSIC AND CARNATIC MUSIC 2-4 2.1 Introduction 2 2.2 Main Styles of Singing in Hindustani Music 3 2.3 Semi-Classical Styles of Hindustani Music 4 3. FOLK MUSIC IN INDIA 4-6 3.1 Introduction 4 3.2 A Fusion of Classical and Folk Music 6 4. LIST OF MUSICAL INSTRUMENTS AND RELATED PERSONALITIES 6 5. FOLK MUSIC INSTRUMENTS 7 6. DANCE 7-8 6.1 Indian Classical Dance 8 7. CLASSICAL DANCES OF INDIA 8-10 8. LIST OF FOLK DANCE 10-12 9. DRAMA/THEATRE 13-14 9.1 Drama 13 9.2 Theatre Form of India 13 Indian History - ART & CULTURE: MUSIC & DANCE, DRAMA/THEATRE Central Delhi: 73, Near Axis Bank, Old Rajinder Nagar Delhi-60 | Contact: 9811906458, 9354341266| TOPIC MUSIC & DANCE, DRAMA/THEATRE 1 1. MUSIC 1.1 PROGRESS IN MUSIC AND DANCE DURING ANCIENT AGE • Progress in the field of music and dance commenced during the Stone Age and continued throughout the course of Indian history. Some scenes of communal dance have been found in Bhimbetka cave paintings. • These scenes indicate that dance was practised by people during the Stone Age (Mesolithic period). Since dance is hardly possible without music, it can be assumed that some sort of music was also practised by people during the same time in the Indian subcontinent. • Archaeological evidences confirm that the tradition of music and dance was well developed in Harappan civilization.
    [Show full text]
  • Ghumar: Historical Narratives and Gendered Practices of Dholis in Modern Rajasthan
    GHUMAR: HISTORICAL NARRATIVES AND GENDERED PRACTICES OF DHOLIS IN MODERN RAJASTHAN By YASMINE SINGH A Thesis Submitted to the Graduate Faculty of WAKE FOREST UNIVERSITY in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in the Department of Religion May 2010 Winston-Salem, North Carolina Approved By: Jarrod L. Whitaker, Ph.D., Advisor ____________________________________ Examining Committee: Kenneth G. Hoglund, Ph.D. ____________________________________ Steven J. Folmar, Ph.D. ____________________________________ ACKNOWLEDGEMENTS A heartfelt thank you to the all the many individuals in America, India and Nepal, without whose support, guidance and love, this thesis would not have been possible. First, I would like to take this opportunity to thank my committee members; Dr. Jarrod Whitaker, my mentor and advisor, for believing in me and my abilities even when I questioned them; Dr. Steven Folmar, my American bua, for his friendship and for the important instructions in conducting ethnographic fieldwork in Nepal and India; Dr. Kenneth Hoglund for chairing my defense and his comments on this thesis. I was fortunate to work with Dr. Tanisha Ramachandran, who helped me become a stronger writer. I would also like to thank Dr. Marlin Adrian, my Salem College advisor, who introduced me to the fascinating study of Religion. Graduate school would not have been as fun and engaging without Christy Cobb. I thank her for her indispensable friendship, steadfast encouragement and stimulating discussions. I can not forget to mention Sheila Lockhart, who opened the doors to her house when I needed a place to stay; she is truly my home away from home.
    [Show full text]
  • Unit 2 Regional Theatre Tradition
    UNIT 2 REGIONAL THEATRE TRADITION Structure 2.1 Introduction Objectives 2.1.1 Ankiya Naat 2.1.2 Bhaagavata Mela 2.1.3 Bhavaai 2.1.4 Jatraa 2.1.5 Krishnaattam 2.1.6 Nautanki 2.1.7 Raamleelaa 2.1.8 Tamaashaa 2.1.9 Yakshagaana 2.2 Questions 2.1 INTRODUCTION About the IO" century A.D. the Sanskrit theatre ceased to be an active force in Indian Art. Internal and external forces, some of them alien, had already been working in India prior to this time. It is these forces which brought about its decline and eventual demise. These forces were invasions from outside India which were predominantly Muslim. The invading hordes not only overran the local Hindu kingdoms, notably in north India, but also looted the treasuries of the defeated kings as well as plundered the temples. So the patronage that the arts were receiving from both, the ruling classes and the temples, dwindled and the theatre troupes lost all fmancial support. The second force was purely internal. Though Sanskrit was still the language of the courts and temples, various regional languages and literary traditions had started emerging in the rural areas. Thus as Sanskrit as the living language of the land gradually lost its grip over the Indian society, it was a natural consequence that the Sanskrit theatre would also go into decline. Gradually as Islam began to dominate the Indian society it was very natural that all theatrical activities would loose favour since tltat religion did not accept theatre as a part of human life.
    [Show full text]