UGC NET Performing Arts Unit 3 — The Nāṭyaśāstra

Study material (UGC-NET — Performing Arts: Dance, Drama & Theatre)

This is a focused, exam-ready guide to the Nāṭyaśāstra for Unit-3. It explains core concepts (Natya vs Nritta), the topical chapters you must know for the NET, stagecraft (Natyagṛha, Ranga), genre theory (daśarūpakas), pre-performance rituals (pūrvaraṅga) and stage conventions (kakṣya-vibhāga). Each section ends with “Exam Tips” and short recall aids.

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1. Quick orientation: what the Nāṭyaśāstra is

• Author & date: Traditionally attributed to Bharata Muni; composed in classical Sanskrit; 36 chapters (traditional count).

• Scope: A comprehensive treatise on dramaturgy, dance, music, stagecraft, costume, makeup, acting theory and aesthetics. It treats theatre as a social, moral and spiritual instrument.

• Core aim: To teach śikṣā (education), vihāra (recreation) and mokṣa (uplift) through an integrated art form — nāṭya.

Exam tip: Memorise: Nāṭya = the 5th Veda idea (synthesis of the four Vedas) — favourite MCQ topic.

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2. Natya vs Nritta — fundamental distinction

• Nātya (dramatic/representational art): Storytelling, characterized by abhinaya (expression), enactment of characters, dialogic structure — aims at Rasa experience in spectator.

• Nṛtta (pure dance / non-representational movement): Technique, rhythmic patterns, aesthetic movement (without narrative), focuses on form, laya (tempo) and tala (beat).

• Practical relation: Concerts and classical repertoires alternate nṛtta (pure technique) and nātya/abhinaya(expressive enactment).

Mnemonic: N-A-T (Nātya = Narrative + Acting + Text) ; N-R-T (Nṛtta = Rhythm + Technique)

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3. Abhinaya — the fourfold system

Abhinaya = the means of communication in performance. Four categories:

1. Āṅgika — Body/limb expression (hastas, pāda-gati, kāya).

2. Vācika — Voice: speech, song, meter, prosody.

3. Āhārya — Costume, jewellery, make-up, scenic elements.

4. Sāttvika — Internal, involuntary psychic states (tears, pallor, tremor) that make acting believable.

Exam tip: Expect match-the-pairs and “which is not” questions on Abhinaya types.

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4. The “eleven aspects” (Ekādaśa Saṅgraha) — chapters and topics you must study

The Nāṭyaśāstra devotes detailed chapters to a cluster of productional aspects often taught together (the phrase ekādaśa saṅgraha is used by commentators to indicate grouped treatise topics). Important items (that NET frequently tests) include:

• Abhinayas — full theory and examples (see above).

• Dharmīs — modes of representation:

  • Nāṭyadharmi (stylised, conventional representation), and

  • Lokadharmi (naturalistic, everyday imitation).
    Understand when each is appropriate (e.g., gods/epic → nāṭyadharmi; village scenes → lokadharmi).

• Vrittis — stylistic modes (modes of presentation), the principal four in practice are:

  • Bhāratī (verbal/eloquent — emphasis on dialogue),

  • Sātvata / Sattvāti (noble/grand),

  • Kaiśikī (graceful, amorous, delicate — allied to śṛṅgāra),

  • Ārabhāṭī (Arabhati) (forceful, vigorous — allied to heroic, martial moods).

• Pravrittis — regional styles or schools (early texts describe several regional modes — broadly “schools of performance” that color enactment — e.g., Dakṣiṇātya, Oḍra, Avanti, Pāñcāla in classical commentaries).

• Atodyas / Ātodya — (preliminaries / extra-elements) ritual preliminaries and minor performance devices described in the Nāṭyaśāstra (in some commentarial traditions ātodya denotes ancillary rites and interludes).

• Sāmānya and Citrābhinayas — sāmānya (generalized, codified expressions) vs citrabhinaya(pictorial/ornamental expressions; complex, decorative gesture compositions; used for spectacular tableaux and scenic imagery).

Exam tip: NET questions often ask to contrast Nāṭyadharmi vs Lokadharmi, identify Vritti-to-Rasa mapping (e.g., Kaiśikī → Śṛṅgāra), and to name Abhinaya types.

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5.

Daśarūpaka — The Ten Forms of Drama (as per Nāṭyaśāstra & Dhanañjaya)

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a. Nāṭaka (The Grand Play)

• Meaning: Derived from nāṭya — “to act”. It is the chief and most elaborate type of drama.

• Subject Matter: Based on well-known historical, epic, or Purāṇic stories — not fictional.

• Hero: Usually royal or divine (Uttama Nāyaka) — noble in character and conduct.

• Structure: Usually five to ten acts, with subplots (prakṛti and vṛtti properly arranged).

• Rasa: Mainly Śṛṅgāra (romantic) and Vīra (heroic); others may appear secondarily.

• Examples: Abhijñānaśākuntalam, Raghuvaṃśa stories, Vikramorvaśīyam, Mudrārākṣasa.

• Exam Tip: Remember — Nāṭaka = famous story + royal hero + large scale.

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b. Prakaraṇa (The Social or Invented Play)

• Meaning: Literally, “composition” or “episode” created by the playwright.

• Subject Matter: Entirely invented by the poet; not based on any epic or legend.

• Hero: Middle-class, learned, or ministerial person (not divine).

• Structure: 5–10 acts; uses Lokadharmi (realistic) elements.

• Rasa: Śṛṅgāra (romantic) mixed with Hāsya (comic).

• Examples: Mṛcchakaṭika by Śūdraka, Ratnāvalī by Harṣa.

• Exam Tip: Opposite of Nāṭaka — Invented plot, realistic hero.

Summary of Key Features to Memorize

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c. Bhāṇa (The Monologue Play)

• Meaning: Literally “speech” or “utterance.”

• Structure: Single-act play performed by one actor only.

• Presentation: The actor speaks to imaginary characters, creating dialogues through suggestion (ākāśabhāṣita).

• Rasa: Usually Śṛṅgāra (love) or Hāsya (humour).

• Style: Rich in suggestion, wit, and verbal art.

• Examples: Traditional Bhāṇa-s mentioned in Natyashastra; Ubhayābhisārikā (a type).

• Exam Tip: One actor, monologue, imaginative dialogue = Bhāṇa.

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d. Prahasana (The Farce / Satirical Comedy)

• Meaning: “Laughable” or “comic drama.”

• Purpose: To ridicule hypocrisy, especially of pseudo-ascetics, corrupt priests, or social pretenders.

• Types:

  • Śuddha Prahasana — only mendicants and ascetics as characters.

  • Miśra Prahasana — mixed characters (mendicants, householders, courtesans).

• Rasa: Hāsya (laughter).

• Examples: Mattavilāsa Prahasana (Mahendravarman I), Bhagavadajjukam (Bodhayana).

• Exam Tip: Satirical, short, and comic in tone.

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e. Ḍima (The Terrible or Fierce Drama)

• Meaning: From “ḍim” — to roar; signifies fierce and intense emotion.

• Subject Matter: Wars, conflicts of gods and demons, destruction scenes.

• Characters: Supernatural, divine, or demonic beings.

• Rasa: Raudra (anger), with Vīra, Bhayānaka, and Bībhatsa supporting.

• Acts: 4 to 5 acts, emphasizing combat and spectacle.

• Examples: Plays based on Rāmāyaṇa or Mahābhārata battles.

• Exam Tip: War, gods, demons = Ḍima.

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f. Vyāyoga (The Heroic Episode)

• Meaning: “Exercise” or “battle episode.”

• Structure: One-act drama focusing on a heroic event (without female roles).

• Subject Matter: Derived from epic stories, like duels or single confrontations.

• Rasa: Vīra (heroic) is dominant.

• Characteristics: No romance, no subplots — pure heroism.

• Examples: Baka-Vadha (Bhāsa), Dūta-Vākya.

• Exam Tip: Single-act, no women, heroic theme.

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g. Samavakāra (The Grand Assembly Drama)

• Meaning: From sam + ava + kara — to “bring together” or “assemble.”

• Structure: Always three acts.

• Subject Matter: Mythological themes involving many deities, cosmic events, or churning of the ocean (Samudra-Manthana).

• Characters: Numerous gods, demons, celestial beings.

• Rasa: Adbhuta (wonder) mixed with Vīra (heroic).

• Exam Tip: 3-act, grand mythic ensemble = Samavakāra.

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h. Vīthi (The One-Act Sketch or Farce)

• Meaning: Literally “a path or small play.”

• Structure: Very short, one act, sometimes just one scene.

• Devices: Uses Patākā-sthāna (side episode), Cihna (symbol), Chala (trick).

• Rasa: Hāsya or Śṛṅgāra; light-hearted and flexible.

• Purpose: For short entertainment between longer performances.

• Exam Tip: Miniature drama using theatrical devices.

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i. Īhāmṛga (The Play of the Unattainable Quest)

• Meaning: “The illusionary deer” — symbolizing chasing the unattainable.

• Subject Matter: Hero seeks an impossible goal — an elusive object, divine being, or ideal.

• Tone: Romantic or adventurous; often includes deception and intrigue.

• Rasa: Śṛṅgāra (love) with mystery and tension.

• Structure: 1 to 4 acts.

• Exam Tip: Quest or chase — desire for what cannot be attained.

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j. Utsṛṣṭikāṅka (The Lament or Elegy Drama)

• Meaning: Literally “release of bodies” — post-battle mourning play.

• Structure: One act, sombre tone.

• Subject Matter: Aftermath of battle; lamentation over slain heroes.

• Rasa: Karuṇa (pathos) is predominant.

• Characters: Wives, mothers, companions mourning the dead.

• Example: Ūrubhaṅga (Bhāsa).

• Exam Tip: Tragic lament — single act, Karuṇa rasa.

• Why it matters: NET may ask: which genre is realistic social play (answer: Prakarana), or match play types to descriptions.

Exam tip: Learn 4–5 genre names and a signature feature/example for each (e.g., Prakarana = middle-class plot; Nāṭaka= royal/mythic).

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6. Natyagruha (the playhouse) and Ranga (stage)

• Natyagruha: Nāṭyaśāstra prescribes theatre buildings of different sizes (small/medium/large) and functional divisions (dressing rooms, stage, audience areas). Names used in commentaries: Vikr̥ta, Madhyama, Sama sizes.

• Ranga / Rangepeetha: stage platform, dimensions and orientation; central performing area for actors.

• Practical elements: wings, audience seating, pit for musicians, proscenium conventions.

• Architectural elements to memorize: ranga, rangapīṭha, koṭi (entrance), and prastara (front), as adapted regionally.

Exam tip: Be able to identify features of a Natyagruha and the purpose of rangapīṭha; NET may present schematic options.

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7. Pūrvaraṅga-vidhi and stage conventions (kakṣya-vibhāga, etc.)

• Pūrvaraṅga-vidhi: rituals and preliminaries before the main performance — invocation (nāndī), lighting, musical prelude, musicians’ entry — designed to create sanctified, receptive atmosphere.

• Kakṣya-vibhāga: audience divisions; Nāṭyaśāstra classifies audience seating and suggests who sits where (e.g., learned, common, king, public sections) — important for staging and acoustics.

• Other stage conventions: curtain usage, entrance/exit conventions, signalling, time-of-day conventions for particular rasas or scenes.

Exam tip: Short essays may ask you to list pūrvaraṅga items or explain the function of kakṣya-vibhāga — learn 5–6 items of pūrvaraṅga and one paragraph on audience zones.

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8. Samanya vs Citrabhinaya (classification of abhinaya)

• Sāmānya Abhinaya: generalised, codified expressions; standardized gestures that convey common emotions across contexts.

• Citrabhinaya: ornamental, pictorial expressions — combinations of gestures, tableau-like images, scenic elaborations used for striking visual effect (often used in epic descriptions, supernatural scenes, and spectacle).

• Practical use: a dancer/actor chooses sāmānya for clear communication of rasa, citra for visual richness.

Exam tip: MCQs often test identification: which abhinaya is pictorial → citrabhinaya.

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9. How to prepare — focused checklist (what to memorise)

• Memorise four Abhinayas + short definition.

• Distinguish Natya vs Nritta in one line.

• Memorise the four principal Vrittis and map each to likely Rasas (Kaiśikī → Śṛṅgāra; Ārabhāṭī → Vīra; Bhāratī → Vācik emphasis; Sattvatī → noble tone).

• Learn 5 daśarūpaka types with one key feature each.

• Know the architecture terms: Natyagruha, Rangapīṭha, Koothambalam (term for Kerala stage).

• List pūrvaraṅga steps (invocation, benediction, musical prelude, drum beats, actor’s salutation).

• One short paragraph on kakṣya-vibhāga and its social function.

• Definitions: Sāmānya vs Citrabhinaya; Nāṭyadharmi vs Lokadharmi; Sāttvika bhāva.