Dasarupaka (critical study)
by Anuru Ranjan Mishra | 2015 | 106,293 words
This page relates 鈥榙escription of rupa, rupaka, natya, nritya and nritta鈥� of the English study of the Dasarupaka of Dhananjaya: an important work on Hindu dramaturgy (Natya-shastra) from the tenth century dealing with the ten divisions of Sanskrit drama (nata), describing their technical aspects and essential dramaturgical principals. These ten types of drama are categorised based on the plot (vastu), hero (neta) and sentiment (rasa)
The description of 谤奴辫补, 谤奴辫补ka, 苍腻峁瓂补, 苍峁泃测补 and 苍峁泃迟补
[Full title: The description of 谤奴辫补, 谤奴辫补ka, 苍腻峁瓂补, 苍峁泃测补 and 苍峁泃迟补, their definitions and differences]
顿丑补苍补帽箩补测补 clearly states that 苍腻峁瓂补, 谤奴辫补 and 谤奴辫补ka are synonyms. N膩峁瓂a is stated to be 谤奴辫补 because it is seen (谤奴辫补m d峁浥泍atayoccyate鈥揇a艣a谤奴辫补ka.I.7). The term 谤奴辫补 is also the concise form of R奴paka, which is not described by Bharata, though Bharata has just said that he is going to describe the characteristics of the ten varieties of drama (da艣a谤奴辫补vikalpanam 办补迟丑补测颈峁腻尘颈鈥�狈腻峁瓂补艣腻蝉迟谤补.XVIII.1). It is called representation or 谤奴辫补ka because characteristics of the real hero, is assumed on the actors (谤奴辫补kam tatsam膩rop膩t鈥揇a艣a谤奴辫补ka.I.7). It means, when the characteristics of real persons are assumed on the actors, is called drama, i.e. 狈腻峁璦办补 and other types of dramas. 顿丑补苍补帽箩补测补 here clarifies that 谤奴辫补ka and 苍峁泃测补 are different; otherwise, some of dance forms such as 诲辞尘产墨, 艣谤墨驳补诲颈迟补, 产丑腻峁嚹� could be some types of drama, as both drama and dance are not separate. Thus, 顿丑补苍补帽箩补测补 differentiates them and states that 谤奴辫补kas are based on the sentiments (谤奴辫补kam ras膩艣rayam鈥揇a艣a谤奴辫补ka.I.7), but dances or 苍峁泃测补s are based on emotions (bh膩v膩艣rayam 苍峁泃测补m鈥揇a艣a谤奴辫补ka.I.9).
It should be noted here that the ten types of dramas are based on [the following four types of representations, through which the various types of sentiments can be manifested], i.e.
However, dance is based on only physical representation (腻峁単颈办腻产丑颈苍补测补) and the same physical representation is not conducive to the sentiments. The sentiments need other factors also.
Further, 顿丑补苍补帽箩补测补 clarifies that 苍峁泃测补 and 苍峁泃迟补 too are different. According to 顿丑补苍补帽箩补测补, 苍峁泃迟补 is different from 苍峁泃测补, because 苍峁泃测补 is based on emotions (产丑腻惫补); whereas 苍峁泃迟补 is based on rhythm (迟腻濒补) and measure (laya). That is to say that 苍峁泃迟补 is not based on merely representations (abhinaya), but on the movements of hands and fingers in measuring time as well. Further, 顿丑补苍补帽箩补测补 clarifies that 苍峁泃测补 is the representation of an object, which is also called high style (尘腻谤驳补), but 苍峁泃迟补 is the representation of mere dance form which is called popular style (诲别艣墨); and both are divided into two types, i.e. gentle dance (濒腻蝉测补) and wild dance (迟腻峁囜笉补惫补), as their natures are gentle (madhura) and vehement (uddhata) respectively.