The first chapter in the Natyaveda (the science of dramatic performance) addresses the origin of drama. The pupils after witnessing the first drama staged by Bharata Muni posed questions such as what were the circumstances which led to the creation of the fifth Veda, and for whom was it created.
The pupils had realized after watching the performance that drama brings about identification with the focus of the situation, to the effect that the audience realize through experience that the objects of humanity: Dharma; Artha; Kama; Moksha, ought to be followed. As it instructs and deals with the ways and means of presenting it, it was rightly called the Veda.
Which further raised questions as to – For whom was it created? What are the various arts essential for the presentation of drama? What are the various means necessary for understanding the different parts of drama? How are these different parts to be presented?
Bharata states that the circumstances which led to the creation of Dramaturgy were the products of the time. During the Treta Yuga, which is domineered by Rajas, the quality of action, prompted by selfish desires and emotions due to which the common experience is a mixture of pleasure and pain because of which there is a necessity for creating a thing which may be pleasing to both the eye and the ear and lead people automatically to follow the path of duty. This was necessary to bring humanity to the right path and instruct all irrespective of caste. They believed it would be a delightful instruction with pleasant sights and sounds.
Primarily, there are four parts to Natya Veda: (1) Art of effective speech or recitation; (2) Art of music; (3) Art of acting; and (4) Rasas. As the Natya Veda presents Rasa, the three arts are the means of its effective presentation. The presentation is apprehended directly through eyes and ears.
Relevance to modern times:
1. What are the aesthetic senses?
He declares that aesthetic senses are only two: eye and ear as they are the only senses which can operate with an object that is common to many as the whole audience can have in common what is addressed to eyes and ears.
He gives the right place to both Hedonistic and Pedagogic theories of art in his aesthetics. He believes that the mind of the spectator should not be occupied with the excessive personal pleasure of pain for aesthetic experience.
2. What is the end of dramatic art?
The end of dramatic art is indirect instruction through the presentation of what is pleasing to eyes and ears. It makes the audience experience the goodness of the virtuous path, through identification with the focus of the dramatic situation.
He believes that drama is simply a play or play-thing which is meant for diverting the mind from what worries or troubles it, and he firmly affirms that presentation of women is necessary for the stage.
Broadly, it can be divided into (i) What drama presents i.e. Rasa, and (ii) the means of its presentation (Abhinaya). It brings what is intended to be presented and is divided into four types: (i) Angika i.e. acting, consisting in the movement of the parts of the body. iii) Vachika i.e. acting, consisting of the appropriate movement of speech-organs, involved in effective recitation. (iii) Sattvika i.e. acting, consisting in the action of the mind, involved in the various emotive states, which find expression in involuntary physical changes, such as change of color, tremor, horripilation, etc. (iv) Aharya i.e. all the means of presentation other than those fitting to the psycho-physical constituents of the actors themselves. It includes, (i) all that is used for giving an appropriate look of the characters of a drama to individual actors, such as paints, dress, ornaments, etc. (ii) all that is necessary for presenting a scene of action. (iii) all the mechanical devices to present such means of transport arid communication as Vimana (Aeroplane), etc.
It also deals with the construction of the stage and method of its management. There is substantial space given to segments of dances and music, both instrumental and vocal. The necessary qualifications of actors and the stage-manager are also given at some length. It further discusses ten types of drama, extending from one-act plays to ten act plays. It deals with the method of dramatization and types of hero, heroine, and adversary. It also states the recognized types of aesthetic experience, different persisting and transitory emotions, and psycho-physical movements and situations, necessary to arouse them.
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