Essay name: Bhasa (critical and historical study)
Author: A. D. Pusalker
This book studies Bhasa, the author of thirteen plays ascribed found in the Trivandrum Sanskrit Series. These works largely adhere to the rules of traditional Indian theatrics known as Natya-Shastra.
Page 161 of: Bhasa (critical and historical study)
161 (of 564)
External source: Shodhganga (Repository of Indian theses)
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141
of kaksyas for paribhramaṇa, and towards the close, the
princess and her maids appear on the balcony where the
princess is shown as resting and the maids serving her.
It is then
o
that AvimÄraka comes on the front stage
through one of the entrances at either end, let us say, from
the north. He is represented as passing through the
streets of the city at night. He begins his journey
gradually towards the south on the Rangapitha and hears
some music by the side, to which he pays close attention
(f) and turns to another side, which may
be
represented on the stage by putting a movable curtain in
his way. Again after turning aside twice, he stands at
one end (fa:) to avoid a thief who is seen walking
on the stage at that time. Then he starts on his further
journey but turning across (f) the guards are seen to
pass, say from south to north, at which AvimÄraka enters
the gambling house (बिलंधà¥à¤� सà¥à¤¥à¤¿à¤¤à¥à¤µà¤¾ ) [bilaṃdhya sthitvÄ ) ] which may be shown by
some temporarily elevated spot. Then he comes to the
palace in the inner stage (Rangasirsa), which he enters,
presumably by the south end. There are pillars on the
sides of the Rangasirsa, and let us suppose, a temporary
wall from east to west is raised on the south end of the
Rangasirsa (so that there should be no obstruction to
spectators seeing everything in his actions). Then after
chanting mantras he throws the rope which becomes
fixed to the supporting beams of the wall and by that rope
he ascends and again descends the palace wall; and throws
away the rope () and passes through the palace
which is Rangasirsa (inner stage). Going a little further,
he comes across a staircase and ascends the Kanyapura
prÄsÄda (i.e., the elevated stage or balcony), which is
already occupied by the princess, but between him and
the princess there is a door, a transverse partition, which he
opens by the magic key (a) and comes to the spot
where we had left the princess to rest.
The third act in the Car also would be similarly
staged. After the singing festival the hero and Vidūṣaka
walk on the front stage and enter their house situated
somewhere in the back stage and the latter sleeps in a
room, presumably a part of the stage, sides
covered on all
a
save one that is open to the audience. There were thus
transverse curtains to represent two walls on the sides.
The thief then enters the back stage and through his scientific
