Hindu Theatre: An interpretation of Bharata’s second Adhyaya
By D. R. Mankad
Summary
Here the author interprets the second chapter of Bharata’s Nāṭyaśāstra, which deals with the construction of theatrical buildings and their symbolic significance. Bharata classifies playhouses into three main types—jyeṣṭha (large), madhya (medium) and apara (small)—each suited to different kinds of performances. The article explains how the ground plan, measurements and proportions of these halls were designed to create a harmonious space that would please the gods and the audience. Attention is given to the orientation of the stage, the arrangement of pillars, and the divisions of the auditorium for different classes of spectators. The author compares Bharata’s prescriptions with archaeological remains of ancient Indian theatres and with descriptions in later treatises. He discusses how the rasa theory of aesthetic experience is reflected in the architectural design: the enclosure symbolises the cosmic mountain, the stage represents the world of humans, and the backstage area functions as the realm of gods. The article also analyses Bharata’s instructions on acoustics, lighting and decorative motifs. An appendix reproduces diagrams and Sanskrit passages on which the interpretation is based. By combining textual exegesis with architectural analysis, the author shows that the Hindu theatre was conceived as a sacred microcosm intended to facilitate the proper transmission of dramatic emotion.
Conclusion
The study concludes that Bharata’s treatise was not a purely technical manual but an integrated theory that linked stage architecture with religious and aesthetic principles. Understanding the prescribed dimensions and symbolism of the theatre sheds light on how ancient dramatists sought to invoke and sustain particular emotions in the audience. The author suggests that modern reconstructions of Sanskrit drama should take this holistic vision into account if they are to recreate the intended experience.