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the religious rites also and that this type is more spectacular and richer in
artistic techniques and content than the drama dealing with the social
life. But few realise that the traditional theatre of both religious and secular
attitudes and values is fully integrated with the unified character of life
and depicts the total life of the people.
One of the striking traits of the religiously motivated and
ritualistic theatre of India is that it presents contemporary social life and
sharply projects secular values. The social content is imparted into these
plays through impromptu prose-dialogues often spoken by the jester and
the minor characters. In the 'Song dialogues' the men and materials of
the plays are kept in their superhuman divine positions. They are brought
down to the human and social level of the actors themselves through
impromptu Pr膩k峁泃 prose dialogues. Comments on social evils are often
made with greater pungency in the secular plays, dealing with medieval
legends, popular history and social themes.
The element of dynamism is inherent in the very nature of the
structure and the aesthetics of the traditional theatre. It does not become
static and rigid with codified laws. It keeps changing and adapting itself
to the new socio-cultural contamination, hybridisation and assimilation
of new material and techniques constantly enlarging its dimensions in
time and space. The religion-oriented traditional drama having evolved
and grown in the temples during the medieval centuries, when left the
temples and came on the streets in the form of a grand processional and