Bharata's View on Natya

Origin of Natya:

         Origin of drama is closely connected to Hindu Religious trinity – Brahma, Vishnu and Maheshwara (Shankar). According to Bharata’s, Brahma was the originator of drama, Maheshwara was the originator of dance. It is also believed that Brahma in originating Natya Veda has borrowed various aspects from different Vedas and their sub ordinary branches (Upanishad). It is said that he had borrowed – 

• Art of effective speech from the Rig-Veda
• Acting from Yajur-veda
• Music from Samveda
• Rasa’s from Atharvaveda

origin of natya

         Thus the treatise on dramatics is called Panchamveda, - a Natyaveda. It is known as the fifth Veda because it is given the same status as that of other four Vedas.

      Some students (the sons of Bharata) asked question to Bharata regarding the art of drama they are:

(1) In to how many part, is this Natyaveda divided?

(2) How many parts of drama are made?

(3) What are the different parts of drama to be presented?

        He discuss his views in ‘Natyashastra’ keep this questions in his mind

Parts of drama:

In Bharata’s view there are four parts dealing with the following topics of drama: 

1. Art of effective speech

2. Art of Acting

3. Art of Music

4. Art of Music

parts of drama

Plot or story of Drama:

         Bharata analysed the story or the plot of drama. According to him there are five elements which are necessary features of good plot. They are-

1. The Germ (bija)

2. The drop (bindu)

3. The episode (anka)

4. The incident (prasanga)

5. The denouement (ant- the end)

feature of good story

Characters of Drama:

      Bharata says that there are three types of character.

1. Uttama (superior)

2. Madhyama (intermediate)

3. Adhama (inferior)

types of character

Aims of Drama:

             Drama aims at presenting Rasa; and three arts are the mean of its effective presentation. It is apprehended directly through eyes and ear. If we look at the traditional account of the origin of the Natyashastra from the modern point of view, we find that it contains relevant answer of some questions to arise in modern mind, as they regarding the questions of aesthetic senses. Bharata declares that they are only two: eyes and ears. He excludes touch, taste and smell, because they are different from person to person.

              The question is ‘what is the aim of dramatic art?’ Bharata replies that the aim of dramatic art is to give instruction not directly, but indirectly, - through the presentation of what is pleasing to eyes and ears. It makes the audience to experience the goodness of virtues and others. It is through the identification of with the focus of dramatic situation. According to Bharata the aspect of sensuous pleasure is must in the experience of the dramatic presentation. Thus he gives the right plays to both: 1. Hedonistic and 2.  Pedagogic. The theories of art in his aesthetics.

          In the opinion Bharata drama is simply a play or plaything. It is meant for diverting the mind from what worries or troubles it. The most essential subjective conditions for the aesthetic experience are that mind of the spectator or pain. He recognizes the importance of woman on the stage for the correct expression of emotion. There are certain feelings which are particular for the fair sex only. So, the accurate and life like presentation of woman is necessary on stage.

         The broad division of subject matter is based Bharata’s view on Rasa and its meant presentation. The later it called Abhinaya (acting). It is divided in to four parts. 

1. Angika – the movement of the parts of the body

2. Vachika – presentation of dialogue; appropriate movement of speech                organs

3. Satvika – the action of mind; it is involved in the various emotion states

4. Aharya – all means of presentation; make up, clothing, atmosphere etc.

TYPES OF ACTING

           The most interesting and original part of Bharata’s Dramatic theory is the concept of Rasa. It is the aim of performance to evoke in the mind of the audience. Rasa is produced from the union of vibhava, anubhava and vyabhichari. According to Bharata, there are nine Rasas which are dominating in the drama. In short Bharata has given the perfect theory of Natya (drama) which serves the purpose of its performance.