Dramaturgy in the Venisamhara
by Debi Prasad Namasudra | 2016 | 70,412 words
This page relates ‘Description of Prahasana� of the study dealing with the Venisamhara of Bhatta Narayana and its practical application of Sanskrit Dramaturgy. The Veni-Samhara is an extraordinary drama in Sanskrit literature which revolves around the great war of Mahabharata within six Acts. This study deals with the author, background and the technical aspects, reflecting the ancient Indian tradition of dramaturgy (Natya-Shastra).
Go directly to: Footnotes.
Description of Prahasana
Prahasana is a farce with comic characters. It contains all the ten sub-divisions of ³ÕÄ«³Ù³óÄ«. It is presented in costumes suited for comic scenes like the motley dress; and the language is also light so as to tickle the audience to laughter[1]. The Prahasana is of two kinds: regular (Åš³Ü»å»å³ó²¹) and irregular (³§²¹á¹…kÄ«°ùṇa). The former type contains characters like monks, ²úá¹›Äh³¾²¹²Ô²¹ s, heretics, servants and parasites; whereas the latter contains vehement and low characters like harols, strumpets, slaves, villains and hangers on. There is yet a third type of farce recognized by the ¶Ù²¹Å›²¹°ùÅ«±è²¹°ì²¹ and the Madara Maranda. The third type is distinguished by the name Vikrta or the modified farce, and contains such characters as ennuchs, chamberlains and even ascetics presenting a lover’s character and making speeches full of amorous humour and dalliance. ¶Ù³ó²¹Ã±²¹²ÔÂá²¹²â²¹ further adds that a farce may contain almost all the six varities of the comic sentiment[2]. Singa BhupÄla details the different elements of a Prahasana, which are ten in number[3] and could be generally employed in all types of shows. One of the important characteristics of a Prahasana is the presence of all the features of Gnetle dance (³¢Äå²õ²â²¹). In regard to other particulars, the junctures and the modes of behaviour, it follows the pattern of µþ³óÄåṇa.
These are the ten principal varieties of shows to which may be added a ²Ñ²¹³óÄå±·Äåá¹a°ì²¹[4], a play of the ±·Äåá¹a°ì²¹ pattern with ten or more acts like the µþÄå±ô²¹°ùÄå³¾Äå²â²¹á¹‡a or the ±á²¹²Ô³Ü³¾Äå²Ô ±·Äåá¹a°ì²¹. There are also a few minor varities called ³Ü±è²¹-°ùÅ«±è²¹°ì²¹²õ.
Footnotes and references:
[1]:
±·Äåá¹y²¹Å›Äå²õ³Ù°ù²¹ XX-60; ³§Äå³ó¾±³Ù²â²¹»å²¹°ù±è²¹á¹‡a VI-135a; ¸é²¹²õÄå°ùṇa±¹²¹-²õ³Ü»å³óÄå°ì²¹°ù²¹ I-285b.
[2]:
±·Äåá¹y²¹Å›Äå²õ³Ù°ù²¹ XX-53. ³§Äå³ó¾±³Ù²â²¹»å²¹°ù±è²¹á¹‡a VI-136b; ¸é²¹²õÄå°ùṇa±¹²¹-²õ³Ü»å³óÄå°ì²¹°ù²¹ I-284.
[3]:
³§Äå³ó¾±³Ù²â²¹»å²¹°ù±è²¹á¹‡a VI-134; ¸é²¹²õÄå°ùṇa±¹²¹-²õ³Ü»å³óÄå°ì²¹°ù²¹ I-284; ¶Ù²¹Å›²¹°ùÅ«±è²¹°ì²¹ II-59.
[4]:
±·Äåá¹y²¹Å›Äå²õ³Ù°ù²¹ XX-59.