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笔奴谤惫补谤补峁単补 literally means the first action on stage. 笔奴谤惫补谤补峁単补 is performed at the beginning of the 苍腻峁瓂补, as a precautionary measure. By worshipping of the Gods, the impediments to drama are removed. Before the commencement of the drama, an elaborate series of preliminaries are to be performed. Though it looks elaborate, these are the essential actions, which the dramatists have to follow to bring out a flawless performance. The singers, instrumentalists and actors enter the stage and do some preparatory actions. The deities on the various quarters of the stage are invoked and the Jarjara, which is a weapon that helps in the proper move of the performance, is also worshipped by the 蝉奴迟谤补诲丑腻谤补 and others.

The actors represent portions of 尘腻迟谤补蝉, 办腻濒补蝉 and parivartas before the actual performance starts.

辫腻诲补bh膩g膩岣� kal膩艣caiva parivart膩stathaiva ca ||
yasm膩dra峁単e prayujyante purvameva prayokt峁沚hi岣� |^[1]

鈥淭his performance of 辫奴谤惫补谤补峁単补 rites, is concerned with the propitiation of all the deities and would please all of them. Further it would bring virtue, fame and longevity (to the performers).鈥�

sarvadaivatap奴j膩rha峁� sarvadaivatap奴janam |
dharmya峁� ya艣asyam膩yu卯ya峁� 辫奴谤惫补谤补峁単补pravartanam ||^[2]

笔奴谤惫补谤补峁単补 is of two kinds 补苍迟补谤测补惫补苍颈办腻 and 产补丑颈谤测补惫补苍颈办腻. The actions, which are performed behind the curtain, is 补苍迟补谤测补惫补苍颈办腻 and they are nine in number. These are some basic things like testing the orchestral voice and instruments and the singers warm up themselves to bring out a harmony between them and thus setting a perfect atmosphere in the minds of the audience.

笔谤补迟测腻丑腻谤补 is the arrangement of instruments; 补惫补迟补谤补峁嘺 is the seating of the orchestra members; 腻谤补尘产丑补 is the commencement of singing (testing the voice); 腻艣谤腻惫补峁嚹� is the sounding (testing) of instruments; 惫补办迟谤补辫腻峁噄 is the sounding of wind instruments to distinguish the various 惫补诲测补惫峁泃迟颈蝉; 辫补谤颈驳丑补峁�峁�补苍补 is sounding of string instruments; 蝉补峁僩丑辞峁璦苍补 is sounding of the drum to distinguish the varieties of panis; 尘补谤驳腻蝉腻谤颈迟补 is the sounding of string and percussion together; 腻蝉补谤颈迟补 is of three types namely 箩测别峁ａ弓补, madhya and 办补苍颈峁ａ弓补 which is meant to distinguish the beat of time (办腻濒补) and thus the 迟腻濒补 is set and practiced. Thus, in 补苍迟补谤测补惫补苍颈办腻 the 迟腻濒补 is fixed and harmonized between the instrumentalists and the singers, which is very essential for the gati of the actors.

The actions, which are performed after removing the curtain it is 产补丑颈谤测补惫补苍颈办腻 and they are ten in number. They are propitiation of deities, entrance of 厂奴迟谤补诲丑腻谤补 and 笔腻谤颈辫腻谤艣惫补办补蝉, propitiation of Gods in all directions, reciting benedictory verse with meaningless syllables, performing 肠腻谤颈 and mah膩肠腻谤颈, the actions of the 厂奴迟谤补诲丑腻谤补 with 痴颈诲奴峁�a办补 and 辫腻谤颈辫腻谤艣惫补办补 called trigata. Here the dancers enter and propitiate the deities. The 厂奴迟谤补诲丑腻谤补 and the 辫腻谤颈辫腻谤艣惫补办补s enter and recite the 苍腻苍诲墨. This elaborate process is beautified by gaits of the dancers and characters.

The 苍颈谤驳墨迟补 are songs without meaningful words, just svaras mainly instrumental, the 蝉补驳墨迟补蝉 are songs with meaningful words and the 惫补谤诲丑补尘腻苍补办补 are words and rhythms set in ascending order. Indirectly, this pleases the gods, daityas, 诲腻苍补惫补蝉, and other divine beings. These are in the forms of music utilized in the 辫奴谤惫补谤补峁単补, which gives ample scope to gatis as movements and gaits.

They are enumerated as: 骋墨迟补 refers to songs like madraka, which are invocatory songs related to the acclamation of deities; 痴补谤诲丑补尘腻苍补办补 is the progression in 办腻濒补 and 补办峁�a谤补. Here, the dancers enter one by one and perform movements for the words and rhythm, which increase in the ascending order; 鲍迟迟丑腻辫补苍补 denotes the entrance of the 厂奴迟谤补诲丑腻谤补 and 辫腻谤颈辫腻谤艣惫补办补s (which denotes the plot 耻迟迟丑腻辫补苍墨诲丑谤耻惫腻 to be sung); Parivartana is the propitiation of Gods in all directions. This will be performed through gaits moving around the four directions on the stage; Su峁�k膩vak峁涐梗峁璦苍腻苍诲墨 is a benedictory verse followed by meaningless syllables. Here the gods, 产谤腻丑尘颈峁僺 and kings are praised along with some mnemonic syllables interspersed, for which abhinaya is performed with dance movements called 办补谤补峁嘺蝉 and 补峁単补丑腻谤补蝉, as 苍峁泃迟补 is done for the meaningless words; 搁补峁単补诲惫腻谤补 is when a stanza in praise of 痴颈峁ａ箛耻 is recited; 颁腻谤颈 is when the erotic sentiment is brought in through dancing the 蝉耻办耻尘腻谤补 prayoga of the 办补谤补峁嘺蝉; Mah膩肠腻谤颈 is when raudra is delineated through 耻诲诲丑腻迟补 prayoga; Trigata is the action and conversation of the 厂奴迟谤补诲丑腻谤补 with 痴颈诲奴峁�a办补 and 辫腻谤颈辫腻谤艣惫补办补; Prarocana is where the theme is introduced to kindle the interest in the audience. Thus, in 产补丑颈谤测补惫补苍颈办腻 the performance of gati starts with the movements of the dancers, to which it is coordinated with the instrumentalists and singers.

When all the elements of 辫奴谤惫补谤补峁単补 are performed without involving dance movements, then it is 艣耻诲诲丑补 辫奴谤惫补谤补峁単补. In 叠补丑颈谤测补惫补苍颈办腻, there are some actions involving the 厂奴迟谤补诲丑腻谤补 and 笔腻谤颈辫腻谤艣惫补办补蝉, but they are just mere body movements to cover the stage. Here the characters can perform the gatis to move around the stage. These gatis can be based on the two 迟腻濒补s mentioned as in the 狈腻峁瓂补艣腻蝉迟谤补. They are 肠补迟耻谤补艣谤补 (with sixteen strokes) and 迟峁泍补艣谤补 (with twelve strokes).

When the elements of 产补丑颈谤测补惫补苍颈办腻 are danced, it becomes citra 辫奴谤惫补谤补峁単补. Dancing girls should sprinkle flowers around the stage and perform the 补峁単补丑腻谤补蝉 (combination of 办补谤补峁嘺蝉). Bharata says, the 迟腻峁囜笉补惫补 dance with its 辫颈峁囜笉墨, recaka, 补峁単补丑腻谤补 and modes of svaras called 苍测腻蝉补 and apa苍测腻蝉补 should be employed in between each of the lines of 苍腻苍诲墨. If this is done, the 艣耻诲诲丑补 辫奴谤惫补谤补峁単补 becomes a citra (尘颈艣谤补) 辫奴谤惫补谤补峁単补. He also says, there should not be much of music and dance in the 辫奴谤惫补谤补峁単补 and if it so the rest of the drama will not be enjoyable. The 艣耻诲诲丑补 辫奴谤惫补谤补峁単补 is textual (educating) but the 尘颈艣谤补 or citra 辫奴谤惫补谤补峁単补 is visual (entertaining).

The citra 辫奴谤惫补谤补峁単补 starts with the entry of a dancer. The female dancer enters the stage performing the vai艣膩kha sth膩na followed by the 惫补颈艣腻办丑补谤别肠颈迟补 办补谤补峁嘺. Then she should perform all the four recakas of 辫腻诲补, 办补峁���, hasta and 办补峁囜弓丑补 in her movements and continue with 迟补濒补辫耻峁�p补辫耻峁璦 办补谤补峁嘺 for sprinkling the stage with flowers. Then she should go around the stage bowing to the deities before she is to initiate the actual performance.^[3]

This dance forms is part of the 腻蝉腻谤颈迟补 of the 辫奴谤惫补谤补峁単补. She can present the 补峁単补丑腻谤补蝉, which consists of a variety of 办补谤补峁嘺 movements for which the drums should be played. After this, the dancer will exit and the other dancers will enter one by one separately and perform the other three 腻蝉腻谤颈迟补s similarly. Then they come together to form a 辫颈峁囜笉墨. These 辫颈峁囜笉墨bandhas are group formations where movement and positions form an important part. After the formation of 辫颈峁囜笉墨 all the dancers exit the stage.

After this, which is known as the first parivartana, the second section starts with the entrance of the 厂奴迟谤补诲丑腻谤补 in madhyalaya. The 厂奴迟谤补诲丑腻谤补 and the two 辫腻谤颈辫腻谤艣惫补办补s, on either side, should take the vai峁ａ箛ava sth膩na entering the stage, should move five steps ahead towards the center of the stage. The left foot should be kept in 蝉奴肠墨 肠腻谤墨 while the right foot is held aloft at a distance of three palms and placed on the ground. This is to be done thrice. Offering of flowers should be made in the region called Brahma 尘补峁囜笉补濒补, the center of the stage. This second parivartana extends from the entrance of the 厂奴迟谤补诲丑腻谤补, upto his acts of worship, and in order to provide enough time, the lines of the dhruva songs should be recited to the measure of madhyalaya, which will be in medium tempo.

In the third parivartana, the circumambulation of the Bra岣�ma 尘补峁囜笉补濒补 is to be performed, and after getting up, the right foot is lifted with that the heel of the left foot is touched. Then the left foot is put forward. Again lifting right foot to a side, the heel of the left foot is touched before the same (right foot) is stretched forward while stepping in front. The act of circumambulation is to be performed with this kind of gait. After the circumambulation in the third parivartana, the drutalaya starts. After moving towards the corner and planting the jarjara, he should set his left foot in the vedha肠腻谤墨 and step out with the right foot. He should walk five paces towards the 惫腻诲测补蝉 (instruments). Here again the left foot is held back in vedha and the right foot is put forward on the ground. This fourth parivartana beginning with the holding of jarjara and ending with walking towards the instruments should be performed in the drutalaya. Generally, the number of movements of the hands and feet in it are sixteen (units of time measures). If the 迟腻濒补 is 迟峁泍补艣谤补, the time taken by the movements is only twelve units.

In the 耻迟迟丑腻辫补苍补, the parivartana is to be performed in the 肠补迟耻谤补艣谤补 迟腻濒补 with madhyalaya, in which eight 蝉补苍苍颈辫腻迟补蝉 are made. The 诲丑谤耻惫腻 for parivartana is set in atijagati meter. Adopting the 惫腻谤迟迟颈办补-尘腻谤驳补 (the other two 尘腻谤驳补s being citra and 诲补办峁�i峁嘺 to make three modes of gait) to the accompaniment of instruments, he should worship the gods in their respective quarters moving about with graceful gait.^[4]

狈腻苍诲墨, the benedictory verse is an important element of a 辫奴谤惫补谤补峁単补. It is in a form of a prayer. Bharata says that the 厂奴迟谤补诲丑腻谤补 should recite the 苍腻苍诲墨 consisting of eight or twelve 辫腻诲补s (sentences) using medium pitch.The 厂奴迟谤补诲丑腻谤补 along with 辫腻谤颈辫腻谤艣惫补办补s have a series of gaits that are to be done before reciting the 苍腻苍诲墨. Thus, gati forms a main part of the 辫奴谤惫补谤补峁単补. It can be mere walk in the 艣耻诲诲丑补 辫奴谤惫补谤补峁単补 or dance like in the citra 辫奴谤惫补谤补峁単补.

Thus, the 辫奴谤惫补谤补峁単补 is to be performed with gaits and movements for the 诲丑谤耻惫腻s sung in praise of gods by the 厂奴迟谤补诲丑腻谤补 with the 辫腻谤颈辫腻谤艣惫补办补s holding the jarjara and 产丑峁涐箙驳腻谤补 in their hands while doing the gatis. These are still in vogue in the regional forms such as 辫耻谤补辫辫腻岣岛 of kathakali.^[5]

Among the preliminary rites, the 苍腻苍诲墨 is considered very important. There is no mention about the elements of 辫奴谤惫补谤补峁単补 in the commentaries of the dramas. Details about 苍腻苍诲墨 are explained, but generally, it is written by the dramatist as 鈥�狈腻苍诲测补苍迟别 厂奴迟谤补诲丑腻谤补岣�鈥�. It conveys the 厂奴迟谤补诲丑腻谤补鈥檚 entry after the 苍腻苍诲墨 is recited. There are many controversies regarding this statement. Though these preliminaries were properly done during Bharata鈥檚 time, later they were shortened due to various reasons.

狈腻苍诲墨 艣濒辞办补, being more auspicious and religious, became the invocatory stanza in a dramatic work.

sanm膩rg膩lokan膩ya vyapanayatu sa vast膩mas墨 v峁泃tim墨艣a岣� ||

鈥淢ay Lord 艢颈惫补 remove your state of darkness (ignorance) that you may behold the path of good鈥�

碍腻濒颈诲腻蝉补 commences this drama with a 苍腻苍诲墨 艣濒辞办补. This gives an insight to the 苍腻峁瓂补 aspect to be dealt with in the drama proper. This means that the Lord 艢颈惫补 is the one who leads us to 尘辞办峁�a (salvation).

Here the word 鈥�蝉补苍尘补谤驳腻濒辞办补苍腻测补鈥� also indicates the 尘腻谤驳补 variety of 苍腻峁瓂补, which is seen in M膩lavik膩鈥檚 dance.

atra m膩rgo bhaven苍腻峁瓂补峁� 苍腻峁瓂补vedoktalak峁�a峁嘺m ||^[6]

K膩峁璦yavema in his commentary says,

鈥�惭腻谤驳补 is defined as the 苍腻峁瓂补 that which is based on the 狈腻峁瓂补惫别诲补.鈥�

The 苍腻苍诲墨 艣濒辞办补 of Abhij帽膩na 艢akuntal膩 praises God 艢颈惫补 and invokes his blessing and protection.

As Bharata says each line can be interspersed with 苍测腻蝉补 and apa苍测腻蝉补 svaras, 苍峁泃迟补办补谤补峁嘺蝉 which can bring out the 惫腻办测腻谤迟丑补 abhinaya can be added for that. This verse can be performed with 驳补峁単腻惫补迟补谤补峁嘺 办补谤补峁嘺 for depicting the first creation, water, 惫颈肠丑测补惫腻 肠腻谤墨 with 迟谤颈辫补迟腻办补 hasta for depicting fire, cakra尘补峁囜笉补濒补 办补谤补峁嘺 for revolving of the Sun and the Moon, 腻办腻艣补 产丑谤补尘补谤墨 for ether and 箩腻苍耻 产丑谤补尘补谤墨 for earth as gaits by the dancers.

In the 苍腻苍诲墨 艣濒辞办补 of the 搁补迟苍腻惫补濒颈, 笔腻谤惫补迟墨 is described as offering flowers to Lord 艢颈惫补. She is standing on the tip of her toes.^[7] Abhinava says 迟补濒补辫耻峁�p补辫耻峁璦 办补谤补峁嘺 can be performed for the 艣濒辞办补.^[8]

Footnotes and references:

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[1]:

Ibid. V.6,7.

[2]:

Ibid. V.56,57.

[3]:

Ibid. IV. 274, 275.

[4]:

Ibid.V.87-90.

[5]:

Sanskrit Drama鈥揑ts Aesthetics and Production. V. Raghavan p.25.

[6]:

惭腻濒补惫颈办腻驳苍颈尘颈迟谤补 A-I.com.

[7]:

Ratnavali.I.1.

[8]:

狈腻峁瓂补艣腻蝉迟谤补 IV.com.p.97.