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Ya艣a艣candra has applied very few technical things in the Mudritakumudacandra, such as:

1. Benediction (苍腻苍诲颈),
2. Prologue (辫谤补蝉迟腻惫补苍腻),
3. Intimation scene (nepathya),
4. Interlude scene (惫颈峁�k补尘产丑补办补),
5. Monologue (腻办腻艣补产丑腻峁�i迟补),
6. Aside (svagata or 腻迟尘补驳补迟补),
7. Aloud (辫谤补办腻艣补) and
8. Personal address (箩补苍腻苍迟颈办补).

Benediction (苍腻苍诲墨) 鈥�

The Benedictory prayer comes at the beginning of the drama and is known as 苍腻苍诲墨. It is the part of preliminaries (辫奴谤惫补谤补峁単补) performed before the enactment of the drama.

The 辫奴谤惫补谤补峁単补 consists of nineteen items.

Out of nineteen, [the following nine items are performed behind the curtain]:

1. 辫谤补迟测腻丑腻谤补,
2. 补惫补迟补谤补峁嘺,
3. 腻谤补尘产丑补,
4. 腻艣谤腻惫补峁嚹�,
5. 惫补办迟谤补辫腻峁噄,
6. 辫补谤颈驳丑补峁�峁�补苍腻,
7. 蝉补峁僩丑辞峁璦苍腻,
8. 尘腻谤驳腻蝉腻谤颈迟补 and
9. 腻蝉腻谤颈迟补.

[...] and another [following nine items, are presented on the stage, for the spectators]:

10. 耻迟迟丑腻辫补苍补,
11. parivartana,
12. 苍腻苍诲墨,
13. 艣耻峁�k腻惫补办峁涐梗峁���,
14. 谤补峁単补诲惫腻谤补,
15. 肠腻谤颈,
16. mah膩肠腻谤颈,
17. trigata and
18. 辫谤补谤辞肠补苍腻;
19. and prologue (辫谤补蝉迟腻惫补苍腻), the 19^th item.

N膩nd墨 is the third part of the presented items of the 辫奴谤惫补谤补峁単补, which is the statement of blessings for the success of dramatic performance. Furthermore, in the performance, the actors and spectators should not face any type of obstacles, which could be troublesome for both the actors and audiences. N膩nd墨 is recited either by the 厂奴迟谤补诲丑腻谤补 or by any Brahmin, on the stage.

In the Mudritakumudacandra, the author prays the god to fulfill the wishes of the people of the three worlds:

鈥�艣谤别测补岣� 办耻岣峬补濒补尘腻峁僺补濒腻尘鈥︹赌�m耻办迟腻尘补峁噄艣谤别峁嘺测补岣�鈥�.

Prologue (辫谤补蝉迟腻惫补苍腻)

The Prologue comes after the recitation of the benedictory verses. It starts with the sentence, i.e.

鈥�苍腻苍诲测补苍迟别 迟补迟补岣� 辫谤补惫颈艣补迟颈 蝉奴迟谤补诲丑腻谤补岣�.鈥�

厂奴迟谤补诲丑腻谤补 conducts the Prologue with his wife (苍补峁���) or establisher (蝉迟丑腻辫补办补 or 辫腻谤颈辫腻谤艣惫颈办补) or Jester (惫颈诲奴峁�a办补). However, sometimes 厂奴迟谤补诲丑腻谤补 alone conducts the Prologue. He informs the audience about the history of the author, name of the play and about the play by means of the humorous conversation with his companion. At the end, the actor enters the stage. In the Mudritakumudacandra, the author has applied and used 厂奴迟谤补诲丑腻谤补, P膩rip膩r艣vika and Na峁��� in the Prologue. 厂奴迟谤补诲丑腻谤补 and P膩rip膩r艣vika discuss the author and the history. However, 厂奴迟谤补诲丑腻谤补 and Na峁��� discuss the theme of the play indirectly. Then 厂奴迟谤补诲丑腻谤补 describes the spring season and afterwards all of them exit from the stage and the two characters, i.e. P膩r艣vadeva and 艢辞产丑补苍补 enter the stage.

Intimation scene (nepathya) 鈥�

The Intimation scene is also called 肠奴濒颈办腻, which is the part of the intermediate scenes (补谤迟丑辞辫补办峁�e辫补办补), i.e. interlude scene (惫颈峁�k补尘产丑补办补), introductory scene (辫谤补惫别艣补办补), intimation scene (肠奴濒颈办腻), anticipatory scene (补峁卥腻蝉测补) and continuation scene (补峁卥腻惫补迟腻谤补). The actors from behind the curtain present the intimation scene, as it is void. The intimation scenes are employed in the beginning or in the middle and sometimes before the end of an act. In the Mudritakumudacandra, the scenes are employed very little. It has used intimation scene only five times in the drama.

Interlude Scene (惫颈峁�k补尘产丑补办补) 鈥�

The interlude scene is also the part of the intermediate scene (补谤迟丑辞辫补办峁�e辫补办补), such as 辫谤补惫别艣补办补 and 肠奴濒颈办腻, as mentioned before. The interlude scene discusses the future incidents, related to the plot, which would happen in the next act. It is of two kinds, i.e. pure interlude scene (艣耻诲诲丑补 惫颈峁�k补尘产丑补办补) and mixed interlude scene (尘颈艣谤补 惫颈峁�k补尘产丑补办补). In the pure type of interlude scene, two middle type of characters describe the incident in Sanskrit. However, the mixed type of interlude scene consists of middle and low types of two characters who speak in Sanskrit and Prakrit respectively to describe the incident. The interlude scene always comes at the beginning of the act. In the Mudritakumudacandra, all the acts consist of pure type of interlude scene, where the characters speak in Sanskrit.

Monologue (腻办腻艣补产丑腻峁�i迟补) 鈥�

When a character on the stage speaks looking up to the sky, addressing someone, it is called monologue. Usually, such a monologue is employed in the 叠丑腻峁嘺 and 痴墨迟丑墨 types of dramas. However, in some cases, other types of dramas also employ monologue. In the Mudritakumudacandra, the author has employed such monologues twice, in the first and the fourth acts through the characters, 叠补苍诲墨 and 艢谤墨辫腻濒补 respectively.

Aside (svagata or 腻迟尘补驳补迟补) 鈥�

The speech, inaudible to others, spoken by a character is aside. It is his own feelings, does not want to share the matter with anyone. This technical aspect is commonly employed in every drama. In the Mudritakumudacandra, the author has employed in various places.

Aloud (辫谤补办腻艣补) 鈥�

The matter, which is audible to the audience, is called aloud. This technical aspect is also applied frequently in every drama. In the Mudritakumudacandra, the author has applied this aloud in some places, though not frequently.

Personal Address (箩补苍腻苍迟颈办补) 鈥�

The speech is made audible to the the particular person to whom it is addressed is called 箩补苍腻苍迟颈办补. However, it is indicated with a special handgesture, which is called 鈥�迟谤颈辫补迟腻办腻鈥�. Jan膩ntika is applied but not frequently in every drama. In the Mudritakumudacandra, it is applied once in the fifth act for the judge 艢il膩峁卥a, by the king 闯补测补蝉颈峁僪补.