365bet娱乐

presented, so that the same stage (cf. Shakespeare's 'wooden O') 21 comes to represent different places and a lapse of ten or twenty years is seen to have taken place within the compass of the stage time. This feat is accomplished by the use of verbal description and other indication, such as 'Look, here is Dv膩raka', 'We are in Benares now' etc. (cf. changes of time and space in 艢膩kunta岣穉m). Similarly too the prologue and epilogue (n膩ndi and bharatav膩kya delivered by the leading character or one of the characters in appropriate dress, are the cases of Natyadharmi. All such procedures become credible only within the magic circle of the stage. As AG says: ' 啶呧ざ啷嵿ぐ啷傕く啶�啶距ぃ啶膏�嵿く 啶多�嵿ぐ啶掂ぃ啶� 啶侧�嬥�曕�囙そ啶�啶� 啶曕う啶距�氞�� 啶� 啶�啶掂い啶� 啷� 啶曕�囙さ啶侧�� 啶むえ啷嵿い啷嵿ぐ啷� 啶むい啷� 啶膏�屶え啷嵿う啶班�嵿く啶距ぐ啷嵿ぅ啶�啷� 啶嗋え啷�啶�啶む�囙イ [a艣r奴yam膩峁嘺sya 艣rava峁嘺峁� loke'pi kad膩cana na bhavati | kevala峁� tantre tat saundary膩rtham 膩n墨yate|] ' ii) The test of Deviancy from accepted social norms: Instances of this are: Rhythmical strutting - a walk to rhythm and tune (t膩岣穉 and laya), he speaks in song, he speaks in an overly structured manner, with self-conscious effort at rhetoric (eg. Duryodhana in Mayasabha), his movements are formal and stylised, he dances in rage or ecstacy : '啶栢ぃ啷嵿ぁ啶苦い啶� 啶ㄠ�冟い啷嵿く啶む��, 啶曕げ啶灌ぞ啶ㄠ�嵿い啶班た啶む�� 啶ㄠ�冟い啷嵿く啶む��, 啶夃え啷嵿ぎ啶距う啶苦い啶� 啶ㄠ�冟い啷嵿く啶む�� [kha峁囜笉it膩 n峁泃yati, kalah膩ntarit膩 n峁泃yati, unm膩dit膩 n峁泃yati] ' - 72 and more generally, the introduction of poetry, song and dance in the
midst of the dialogue for decorative or other purpose, or the carrying out
of an entire action in the form of dance and song, as in musicals and
21.
or we may cram
Within the wooden O, the very casques
That would affright the air at Agincourt?
.....suppose within the girdle of these walls
Are we now confined two mighty monarchies.....