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The Poetics of Theatre in Early India (New Vistas in Indian Performing Arts, no. 14)

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The Poetics of Theatre in Early India (New Vistas in Indian Performing Arts, no. 14)

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	Publisher: D. K. Printworld Pvt. Ltd.
	Author Dhananjay Singh
	Language: English
	Pages: 218
	Cover: HARDCOVER
	6x9 inch
	Weight 440 gm
	Edition: 2021
	ISBN: 9788124610909
	HCC770

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Book Description

About the Book Theatre discourses of early India present theatre. (nitya) as an integrated art form, and the poetics of theatre as an interdisciplinary system of thought and performance. Theatre functions as a composite art production comprising dance (nrtya), song (gana), instrumental music (atolya) and enactment (abhinaya). The poetics of this theatre provides thoughts, techniques, and instrumental frame-works for performance, based on an inter-disciplinary reflection upon space, body, mind, motion, sound, memory, consciousness and theatre in relation to the other disciplines of knowledge. This book attempts to examine the poetics of theatre in early India by interpreting a system of theatre and performance along several themes such as theatre's place in the premodern interdisciplinary knowledge systems, theatre space and architecture, cognition and emotion, performance, experience and consciousness, human and social behaviour, and music. While focusing mainly on the aphoristic statements on theatre by Bharata in his Natyaśastra (third century BCE), the book responds to the principles of theatre and literature discussed and debated in a tradition of texts such as Nandikeśvara's Abhinaya Darpana (fifth-fourth century BCE), Rajaśekhara's Kittya-mimänsä (tenth century CE) and Abhinavagupta's Abhinavabharatt (tenth-eleventh century CE). The major concepts elaborated in the book consist of the types of theatre space (ranga), forms of mental/emotive states (bhavas), forms of consciousness (rasas), human and regional variations of performance (urtti and pravytti), forms of vocal and instrumental music (gana and atodya), and various others. Divided into eight chapters, each addressing an aspect of theatre, the book is premised upon the argument that theatre poetics of early India presents a coordinated world of inner experience rooted in the self (citta) formed by cognition, emotion and consciousness, but that which develops on stage into an artistic network created by the primitive human behaviour, body, senses, space, sound and the external world, including the varieties of the social world.

About the Author Dhananjay Singh is Professor at the Centre for English Studies, Jawaharlal Nehru University, New Delhi, where he teaches courses on comparative poetics, Indian aesthetics, Indian philosophy of language and theatre, South Asian Fiction, and Modern Irish literature. He has published research articles and essays in these areas. He is the author of Fables in the Indian Narrative Tradition: An Analytical Study (2011). Не was Visiting Professor at University of Bergamo, Italy in 2014; International Visiting Fellow at Grinnell College, Grinnell, IOWA, USA, in 2015; and Visiting Research Fellow at Trinity Long Room Hub, Trinity College Dublin in 2017. For his research on Seamus Heaney and Buddhist epistemology in a comparative framework, he was awarded Research Secondment by the European Union's Marie Curie International Research Exchange Scheme to the Project "Social Performance, Cultural Trauma and Reestablishing Solid Sovereignties (SPECTRESS)", at Trinity College Dublin in May-July 2017.

Acknowledgements This book has its origins in the course titled Philosophy of Language and Literature-I: Bharata's Natyaśāstra that I have been offering to the MA English students of the Centre for English Studies, Jawaharlal Nehru University (JNU), New Delhi. I am grateful to my students of the various batches whom I have taught, whose interest in the course, and their inquisitive and bold interactions, inspired my thoughts on the early Indian theatre poetics. The book also owes some of its perspectives to the lectures I prepared for a short course on the Indian Theory of Theatre and Performance that I taught to the undergraduate students at Grinnell College, Grinnell, IOWA, USA, during September-October 2015. I thank the students of the course for generating excellent interactions in the class. I express my gratitude to Suchi Kapila, Professor of English and Director, Center for Humanities, Grinnell College, Grinnell, for inviting me to teach this course. I am indebted to the UGC Special Assistance Programme (SAP) at the Centre for English Studies, JNU, coordinated by Professor Saugata Bhaduri for giving me the publication grant, and the Universities for Potential of Excellence (UPoE) project funded by the UGC for various facilities that enabled the writing of the book.

Introduction ŠATAPATHA Brahmaņa VI.1.2.6-9 describes the creation of the universe by Prajapati in union with Väk (Speech). He creates all beings, even the gods, and places them at appropriate spaces in the cosmos. No creation is possible without this union of the two. Their acts of creation are first acts of performance in the cosmos, in which physical action, mental action and speech, including music, integrate into a seamless oneness. The universe thus created is a never-ageing poem-performance, a continuously running performance marked by the emergence and the disappearance of forms, sounds, costumes (season), and the emotions of human beings, animals and birds.

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