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Play production is the theatrical presentation of a literary work depicting the joys and sorrows experienced by the human beings in the world. So, in the presentation of a play, there are two aspects the presentation of the joys and sorrows of the world as close to the reality as possible and the more conventional than the real. The first aspect relates entirely to the ways of the world and the second one is purely conventional. The first aspect is known as Lokadharmi or proximity to the ways of the world and the second aspect is known as Natyadharmi or theatrical presentation, depending entirely on abhinaya or histrionic expression. We derive enjoyment from a presentation of the sorrows of the world on the stage while we share the sorrows with others when they actually occur in the world. Not only that, but we convince ourselves about the situations presented in a limited space and time which have actually happened at various places, in different planes and regions. These aspects distinguish drama from the realities of the world and are embodied in Natyadharmi. The types of dharmi may also be interpreted as schools of acting- Lokadharmi or realistic school and Natyadharmi or conventional school. Here, it may be worthwhile to consider the two main Western 47

48 schools of acting. The one advocated by Stainslavnsky is more akin to Lokadharmi and is realistic while that of Brecht is closer to Natyadharmi following to a larger extent the conventional type of histrionic expression. Broadly speaking the Stainslavnsky School may be called as Lokadharmi and the Brecht school, Natyadharmi. It is here that the Natyashastra stands out distinctively. Incorporating both the schools, i.e., Lokadharmi and Natyadharmi in a proper proportion so that the entire production becomes thoroughly enjoyable. As a matter of fact, Bharata did not impose any restriction as to when each school of these to be adapted or not but has given the discretion to the director who may employ them to suit a particular situation, the ultimate aim being the successful production of a play. However, Bharata has given general directives for the classification of Lokadharmi and Natyadharmi. Briefly - character fitness proper direction, appropriate movement and make-up are the main aspects of Lokadharmi, which should be as close to the reality as possible. The other aspects viz., instruments, stage movements, asides, personification of inanimate objects etc., are the main aspects of Natyadharmi. The broad-mindedness with which Bharata has dealt with the schools of acting is obvious from the fact that he has conceded that what has been left over by him in this regard must be adapted from the happenings in the world. Although Natyadharmi is conventional, the root of such conventionalism lies in the world itself. According to Abhinavagupta, if

Lokadharmi is the canvas the painting thereon may be stated as Natyadharmi so that a complete picture is produced. Lokadharmi alone does not produce a drama since a canvas is not the picture. Similarly Natyadharmi alone cannot produce drama without adequate support of Lokadharmi, as there can be no picture without a canvas. Among the ten types of plays, Nataka has a predominance of Natyadharmi and Prakarana has a predominance of Lokadharmi. Viewed from a different angle, Lokadharmi is more predominant in drama while Natyadharmi predominates in dance. It must, however, be conceded that both these aspects, in different proportions are present in every form of drama or dance. 49 There is a comment that Bharata's Natyashastra is a petrified science and has no relationship with the realities of the world. This is a misconception, since Bharata, almost at every stage in his Natyashastra, has categorically stated that what all he has mentioned are based on the pleasures and pains experienced in the world and that his is not the last word on the subject. Bharata, towards the end of his work, has reiterated his statement and added that what has been left by him may be added from the ways of the world and adapted by the scholarly and the competent ones. Bharata's Lokadharmi, in fact, incorporates the modern concepts of realism and naturalism, but he did not permit extremism in Lokadharmi. Bharata has also excluded the presentation of certain

aspects on the stage like war, murder, eating, kissing etc., since it is not possible to present some of them while the rest are not sufficiently decorous. He has indicated that these could be effectively conveyed through the suggestive devices or improvisation. He has also prohibited tragedy in Nataka and Prakarana since it amounts to the annihilation of the ideal, as far as Indian idealism is concerned. Even when it is absolutely necessary to represent the fall of a hero on the stage, it has to be averted by creating a solution in which the hero flees, gets arrested or effects a compromise with his opponent. An elaborate discussion on Natyadharmi and Lokadharmi will be done in later.