Natyasastra and Indian Theatre

Summary

Radhavallabh Tripathi’s article explores the Natyasastra, a seminal Sanskrit treatise on performance attributed to Bharata Muni, and its influence on Indian theatre. The author defines natya as a composite art that integrates dance, music and dramafile:///home/oai/share/520768%20(18)%201-170_compressed.pdf. He explains that the Natyasastra views theatre as a sacred and social act, conveying moral truths while entertaining audiences. The article examines the treatise’s origin myth, the duties of playwrights and actors, and the concept of rasa, which posits that eight aesthetic sentiments are evoked through the portrayal of emotions. Tripathi discusses Bharata’s prescriptions for stagecraft—stage design, costumes, gestures and musical accompaniment—and shows how these rules informed classical theatrical traditions such as Kutiyattam. He notes that the actor must internalise the character’s emotions to transmit them to the audience, making performance an act of yogic discipline. The article surveys medieval commentaries, including Abhinavagupta’s Abhinavabhāratī, which integrates Śaiva philosophy into rasa theory, and highlights regional adaptations that expanded genres like the prakaraṇa and bhāṇa. Tripathi argues that the Natyasastra treats theatre as a collaborative process involving poet, actor and spectator, and he compares ancient prescriptions with contemporary theatre practice. The article urges modern directors to engage with the Natyasastra’s philosophical depth to revitalise Indian theatre.