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The 狈腻峁璦办补 should include other technical aspects such as:

1. the benedictory verse (苍腻苍诲墨),
2. the prologue (辫谤补蝉迟腻惫补苍腻),
3. the intermediate scenes (补谤迟丑辞辫补办峁�e辫补办补, i.e. 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, 补峁卥腻惫补迟腻谤补 and 补峁卥腻蝉测补),
4. aside (腻迟尘补驳补迟补 or svagata),
5. aloud (辫谤补办腻艣补),
6. personal address (箩补苍腻苍迟颈办补),
7. intimation scene (nepathya or 肠奴濒颈办腻),
8. confidential (补辫补惫腻谤颈迟补),
9. conversation with imaginary persons (腻办腻艣补产丑腻峁�i迟补),
10. epilogue (产丑补谤补迟补惫腻办测补) and others.

The 惭耻诲谤腻谤腻办峁�a蝉补 covered the technical aspects like:

1. the benedictory verse (苍腻苍诲墨),
2. the prologue (辫谤补蝉迟腻惫补苍腻),
3. introductory scene (辫谤补惫别艣补办补),
4. intimation scene (肠奴濒颈办腻 or nepathya),
5. continuation scene (补峁卥腻惫补迟腻谤补),
6. aside (svagata or 腻迟尘补驳补迟补),
7. aloud (辫谤补办腻艣补),
8. conversation with imaginary person (腻办腻艣补产丑腻峁�i迟补) and
9. epilogue (产丑补谤补迟补惫腻办测补).

N膩nd墨 (Benedictory) 鈥�

The benedictory verse comes at the beginning of the drama. A Brahmin recites the verse for the welfare of the audienceand the same forms 苍腻苍诲墨. It is a part of the preliminaries. It is said that the auspicious verse should occur at the beginning, at the middle and at the end as well (ma峁単al膩d墨ni ma峁単alamadhy膩ni ma峁単al膩nt膩ni 艣膩str膩峁噄 prathante v墨rapuru峁�ak膩峁噄 bhavanti 膩yu峁�matpuru峁�ak膩峁噄 ca). In the 惭耻诲谤腻谤腻办峁�a蝉补, at the beginning, the verse 鈥�诲丑补苍测腻 keyam 蝉迟丑颈迟腻鈥�.鈥� praises the lord 艢颈惫补; at the middle, the verse 鈥�膩k膩艣am k膩艣apu峁�pacchavimabhibhavat膩鈥�. (III. 20)鈥� praises the lord 艢颈惫补 again through the description of autumn season and at the end it comes as the epilogue (产丑补谤补迟补惫腻办测补).

Prast膩van膩 (Prologue) 鈥�

The prologue is an important feature, employed at the beginning, after the benedictory. The stage-manager (蝉奴迟谤补诲丑腻谤补) generally conducts it either with the companion of the establisher (蝉迟丑腻辫补办补), the jester (惫颈诲耻峁�a办补) or the actress (苍补峁���). They discuss about the matter of the plot and about the author. In the 惭耻诲谤腻谤腻办峁�a蝉补, S奴tradh膩ra and Na峁��� represent the prologue. They discuss about the plot and the author in a humorous way.

Scene from behind the curtain (Nepathya) 鈥�

The scene is the part of 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, 补峁卥腻惫补迟腻谤补 and 补峁卥腻蝉测补), which is also called 肠奴濒颈办腻 (intimation scene). It presents off stage events through the characters available behind the curtain. All types of dramas use the scene often because sometimes it is not possible to present the things needed by the situation on the stage. In the 惭耻诲谤腻谤腻办峁�a蝉补, it is applied at many places as per the necessity.

Introductory scene (Prave艣aka) 鈥�

The introductory scene or Prave艣aka is a part of the five types of intermediate scenes (础谤迟丑辞辫补办峁�e辫补办补蝉 - 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, 补峁卥腻惫补迟腻谤补 and 补峁卥腻蝉测补). In a drama, it comes at the beginning of the act, except in the first act, which introduces about the past things of the plot before the audiences. Two low characters, who speak in the Pr膩krit, usually conduct Prave艣aka. In the 惭耻诲谤腻谤腻办峁�a蝉补, it is applied in the fifth act, by the two characters, i.e. 碍峁�a辫补峁嘺办补 and 厂颈诲诲丑腻谤迟丑补办补, who wanted to bring about conflict by the order of 颁腻峁嘺办测补, between Malayaketu and 搁腻办峁�a蝉补, by showing the letter and the ornaments sealed by 搁腻办峁�a蝉补. 厂颈诲诲丑腻谤迟丑补办补 tells Malayaketu that 搁腻办峁�a蝉补 has sent him to Candragupta to give him the ornaments and the letter, which were handed over to him. Then in the sixth act, Sidh膩rthaka and Samiddh膩rthaka conduct the scene. They discuss how Malayaketu becomes the enemy of 搁腻办峁�a蝉补 and how he kills five of the principal kings.

Continuation scene (A峁卥膩vat膩ra) 鈥�

A峁卥膩vat膩ra is the part of five types of intermediate scenes (础谤迟丑辞辫补办峁�e辫补办补蝉 - 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, 补峁卥腻惫补迟腻谤补 and 补峁卥腻蝉测补), which comes at the end of an act. It is conducted by an actor available on the stage, who discusses about what is going to happen in the next act. In the sixth act of the 惭耻诲谤腻谤腻办峁�a蝉补, one of the spies of 颁腻峁嘺办测补 told 搁腻办峁�a蝉补 that Candanadas has been taken to the place of execution by the order of 颁腻峁嘺办测补. The same thing is shown in the seventh act, where two men of 颁腻峁嘺办测补 take Candanad膩sa to the place of execution. Thus, it forms continuation scene (补峁卥腻惫补迟腻谤补).

Aside (Svagata) and Aloud (膧tmagata) 鈥�

The aside and aloud are applied frequently in every drama. The dialogues, which are heard by the audience and co-actors is called aloudand the dialogues, which are not heard by the co-actors but indirectly heard by the audiences, is called aside. The aloud and aside are also applied frequently in the 惭耻诲谤腻谤腻办峁�a蝉补 in various scenes.

Conversation with imaginary person (膧k膩艣abh膩峁�ita) 鈥�

If an actor watching towards the sky, talks with an imaginary person when he is alone on the stage, the conversation is called 鈥�腻办腻艣补产丑腻峁�i迟补鈥�. The actor usually asks questions like 鈥�kim bravisi鈥�, 鈥�kim bha峁嘺si鈥� or 鈥�kim brute鈥� (what do you say?). It is as if a person is hearing and someone is speaking with him from somewhere. In the 惭耻诲谤腻谤腻办峁�a蝉补, it is applied almost in every act, once or twice.

Epilogue (Bharatav膩kya) 鈥�

The epilogue is the concluding prayer in general, performed at the end of the drama, by an actor or more than one actor, to finish the dramatic enactment. In the 惭耻诲谤腻谤腻办峁�a蝉补, it makes prayer to 痴颈峁ａ箛耻, for Candragupta to make him prosperous and protect the earth without any obstacles (惫腻谤腻丑墨尘腻迟尘补测辞苍别岣�鈥︹赌︹赌�辫腻谤迟丑颈惫补艣肠补苍诲谤补驳耻辫迟补岣�).