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The stage or the platform was a space, which was a necessary and
important part of an auditorium or a theatre. N膩峁瓂a艣膩stra elaborately
describes three kinds of theatre, differing in their size and shape. Music
from the stage had to be audible to a large audience and the artiste also
had to be seen by the public, hence the skilful use of stage space was
necessary. Bharata's detailed instructions about the kutapa or the
orchestra bring out the close relationship between the kind of music
performed and the quality of stage space.
The princely court was the most organized performing space. All
kinds of music were rendered in the princely court as all the external
conditions could be controlled. Delicate effects and subtle nuances could
be conveyed. There was also a much better interaction between the stage
performer and the audience.
While referring to the theatre we have to mention about the role of
N膩峁瓂a艣膩stra. In fact, this extraordinary work is an encyclopedia of
almost all aspects of Indian Music and theatre art. That leads us to
discussion on the Texts on Music, which is inevitable in any aspect of the
study of Indian Music.
2.13 Texts on Music
N膩峁瓂a艣膩stra --
N膩峁瓂a艣膩stra is the earliest available work on Indian Music and
Dance. The work is so much revered and respected in traditional system
that its author, sage Bharata is elevated to a divine status and adored.
N膩rada was the first sage to whom the laws of music were revealed;
Tumburu was the first singer; Sarasvati was the goddess of music and
learning; and Bharata was the first to draw up rules for theatre, of which
music was a major and integral part. N膩峁瓂a艣膩stra is assigned to a period
between 200 BC and 200 AD.