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[Full title: Royal Entertainments (1) Viewing the Dance (Lasya) performance]

The auditorium:鈥擶e are informed that such programmes are held in special auditoria known as the dancing-halls (natyasala). Such a hall is described to be highly imposing, spacious, broad, of an even floor and decorated with canopies, arches and wreaths of flowers. It is rendered fragrant by burning Kalagaru (black resing of Aloe tree), incense etc. (80.4-7) (Cp. Sivatattvaratnakara 6.3.16, 26 etc.) Elitist audience and King's discussion on intricacies of dramaturgy # a The audience possibly, comprised of dignitaries from the elite class. Samrajya-lakshmi-pithika mentions a number of royal personages like courtiers, poets, singers and visiting

459 kings from countries like Anga, Vanga, Kalinga, Cola, Nepala, Pandya, Sauvira and Saurastra who joined the patron king in such performances. It appears that the patron king was also versed with the intricacies of dramaturgy, for he is shown to be involved in a discourse on dramatics with others scholars who specialised in the science as propounded by sage Bharata, before the actual performance of the dance (8-14). The musical prelude : The programme is begun after getting the royal approval obtained through gesture of the corner of his eyes (apanga-samina). A number of skilled musicians play on instruments like flute, tabor etc. which commensurate with musical timings (tala) provided by an admixture of artists, both male and female. Some others with zingling bracelets, try their hand in beating a drum (mardala). Possibly, all these serve as a musical prelude to the actual performance of the celebrated danseuse (15-17). Laudatory music : A gold-embroidered curtain (yavanika) is now held aloft by two ladies before the audience while from inside, is played laudatory music (irudavadya) of various kinds.

460 And, now is heard tinkling of anklets from behind and simultaneously with the raising of the curtain (pratisiya) there appears on the stage the main danseuse (18-21). Solo and folk performances : of She begins her performance by offering a handful of flowers to the presiding deity of dance, Siva and after securing royal permission, swings into exhibiting a number marvellous feats through many a gesture and posture of the art of dancing which are fully in tune with sastric injunctions. When her solo performance slowly gains ground in the heart of the audience and specially, in the patron king, then, she is joined by more than a hundred skilled artists to present a folk-dance. Some of these artists are described to carry the expertise of specialising in presentation of country (desi) variety of dances, who vie with one another to have a chance to exhibit their talent in the field. Samrajya-lakshmi-pithika informs us that the five margatalas 24 like Cancatputa etc. should be used at that time. Other 24. Other four being Cacaputa, Satpitaputraka, Sampatvestaka and Udghatta which are stated to have or originated from the five mouths of Lord Siva namely, Sadvolata, Vamadeva, Aghora, Tatpurusa and Isana, For details see Sivatattvaratnakara, 6.9.5-8 which quotes from Sangita samavasara of Parsvadeva.

461 important talas (musical timings) to which the performance is tuned, are mentioned as Javamangala, Simhalila, Javalila, Ratil Ila, Turangal Ila Rangabharanaka and ' Nandinandana (22-82). Cf. Sang Itaratnakara,5.254 for 120 such talas. The closing performance: The closing performance is presented by yet another danseuse, adept in swift movements of her hands who dances to different themes with a pair of eyes, rendered moistened with feelings (bhava-drsti) and with an adroitness, capable of rousing both enduring (sthayi) and adventitious (samicari) sentiments in the audience (33). Floral showers, royal presents etc. With the act of showering flowers on the audience, effected through the beautiful idol-contrivances placed above the auditorium, the whole house beams to satisfaction with praises for the performance and the session is concluded with literally loading the danseuse and artists with presents of gold (kanakenabhisecana). The poets, singers and bards also receive from the king some kinds of presents (abhisecanadravya) alongwith perfume etc. and are seen off by him (34-37).

462 Such dance programmes, we are informed, are also held during festive occasions like the New Year celebration, Navaratra etc. which are attended by the king alongwith special dignitaries and invitees (83.7 ff.)