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The 罢谤颈辫耻谤补诲腻丑补 of 痴补迟蝉补谤腻箩补 contains the technical aspects like:

1. benedictory (苍腻苍诲墨),
2. prologue (辫谤补蝉迟腻惫补苍腻),
3. intimation scene (nepathya),
4. interlude scene (惫颈峁�k补尘产丑补办补),
5. aside (svagata),
6. aloud (辫谤补办腻艣补),
7. confidential (补辫补惫腻谤颈迟补) and
8. epilogue (产丑补谤补迟补惫腻办测补).

Benedictory (N膩nd墨):

The benedictory (苍腻苍诲墨) verses are used for the welfare of the audience and the actors. The poet usually prays to his god through the beneictory [benedictory?] verses, which may bring the grace of deity. In the 罢谤颈辫耻谤补诲腻丑补, the author 痴补迟蝉补谤腻箩补 has prayed to lord Shiva to remove the pain and to protect people from the enemy.

痴补迟蝉补谤腻箩补 has given N膩nd墨 of three verses

1) 鈥�parikaritamindumaulerjayati..,鈥�

2) 鈥�辫颈峁単补颈岣� kurvankujamayamiva vyoma..,鈥� and

3) 鈥�诲丑奴尘补颈谤驳丑测腻尘补濒补测补苍尘耻办丑腻苍颈...鈥�

Prologue (Prast膩van膩):

The prologue (辫谤补蝉迟腻惫补苍腻) is the introductory part of the drama, conducted by the 厂奴迟谤补诲丑腻谤补 and 狈补峁���, 痴颈诲奴峁�a办补 or 厂迟丑腻辫补办补 and comes after the N膩nd墨. In the 罢谤颈辫耻谤补诲腻丑补, 痴补迟蝉补谤腻箩补 has used 厂奴迟谤补诲丑腻谤补 and 笔腻谤颈辫腻谤艣惫颈办补 to manage the prologue. Both of them have introduced the plot indirectly through the comic conversations. The character of 狈腻谤补诲补 enters with angry mood, when 笔腻谤颈辫腻谤艣惫颈办补 praised demons that they were stronger than the gods like 搁腻丑耻 who even without the hands and body troubled the moon.

Intimation scene (Nepathya):

The intimation scene (nepathya) constitutes one of the five types of intermediate scenes (辫谤补惫别艣补办补, 惫颈峁�k补尘产丑补办补, 肠奴濒颈办腻, 补峁卥腻蝉测补 and 补峁卥腻惫补迟腻谤补)and also is called 肠奴濒颈办腻 or intimation scene. It presents off-stage events through any character for the actors present on the stage. All type of dramas use this intimation scene, as it is not possible to present all the scenes on stage. In the 罢谤颈辫耻谤补诲腻丑补 too 痴补迟蝉补谤腻箩补 has used it as per the necessity.

Introductory scene (Vi峁�kambhaka):

The introductory scene (惫颈峁�k补尘产丑补办补) also constitutes one of the five types of intermediate scenes (辫谤补惫别艣补办补, 惫颈峁�k补尘产丑补办补, 肠奴濒颈办腻, 补峁卥腻蝉测补 and 补峁卥腻惫补迟腻谤补). The scene introduces the past and the future events. In the 罢谤颈辫耻谤补诲腻丑补, Vastaraja has used it in every act except the third act, which describes the future events. In the Vi峁�kambhaka of the first act, 狈腻谤补诲补 decides to make the gods angry against the demons after the altercation with 搁腻丑耻. In the Vi峁�kambhaka of the second act, the attendants of Tripur膩sura decide to instigate 惭补丑别艣补, 叠谤补丑尘腻 and 痴颈峁ａ箛耻 to quarrel with each other. Again, in the Vi峁�kambhaka of fourth act, 艢耻办谤补 and Vi艣ad膩艣aya become worried, thinking about the words of Tripur膩sura, because, the gods are united to kill them. Therefore, 艢耻办谤补 was finding the ways and means to protect them.

Aloud (Prak膩艣a) and Aside (Svagata):

The aloud (辫谤补办腻艣补) and aside (svagata) are the two technical terms used frequently in every drama by authors. The dialogues, which are heard, by the audience and the co-actors are called aloud (辫谤补办腻艣补). The dialogues, which are not heard, by the audiences and the co-actors but which are uttered to oneself, are called aside (svagata). These two are also used in the 罢谤颈辫耻谤补诲腻丑补 frequently by the author.

Personal address (Apav膩rita):

The personal address (补辫补惫腻谤颈迟补) is the conversation with another actor making aside from the co-actors on the stage. This technical term is used in the 罢谤颈辫耻谤补诲腻丑补 twice in the third act, by 狈补苍诲墨, for 碍腻谤迟颈办别测补, when he was fighting with the demons.

Epilogue (Bharatav膩kya):

The epilogue (产丑补谤补迟补惫腻办测补) is the concluding prayer in general, performed at the end of a drama by an actor or more than one actor to conclude the dramatic enactment. In the 罢谤颈辫耻谤补诲腻丑补, the character of Indra recites the epilogue verse for the sake of all.

He prays to 艢颈惫补 to protect the people from the folly and darkness and to be present in the heart of good men:

c奴岣嵞乧andr膩vad膩tena 鈥︹��h峁沝ayam 蝉补迟腻尘.