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a hairy skin type coat, and makes up his face as a monkey, but in a specific stylised pattern. At any rate the principle involved in stage production is, as Bharata says, that any intimation of objects existing in the world would be in order and may be an accessory in the performance of drama (). While certain things can be successfully produced on the stage, others cannot be. Therefore some accessories are realistic and others, conventional: 23 CONCLUSION
It could be concluded as follows:-
i)
Although a distinction exists between what is naturalistic and what
is purely artifical and adopted as an expedient, the basis of the
whole conduct of the theatre is mimetic fidelity or L艒kadharma.
The primary illusion of the stage subsists within the framework of
Lokadharmi, and theatrical conventions too must obey its laws.
Therefore, while Bharata says that a play should be produced with
due regard for N膩tyadharmi ('啶ㄠぞ啶熰�嵿く啶оぐ啷嵿ぎ啷� 啶�啷嵿ぐ啶掂�冟い啷嵿い啶� 啶灌た 啶膏う啶� 啶ㄠぞ啶熰�嵿く啶� 啶�啷嵿ぐ啶�啷嬥�溹く啷囙い啷� [n膩峁瓂adharm墨 prav峁泃ta峁� hi sad膩 n膩峁瓂a峁� prayojayet ] ') he
gives primacy to 啶侧�嬥�曕お啷嵿ぐ啶�啶距ぃ啶� [濒辞办补辫谤补尘腻峁嘺峁� ] 24
AG comments that Natyadharmi must exist in close
correspondence with L艒kadharmi which is the ground on which the
entire superstructure of the drama rests: 啶侧�嬥�曕ぇ啶班�嵿ぎ啶侧�曕�嵿し啶｀�� [濒辞办补诲丑补谤尘补濒补办峁�a峁嘺峁�] 25 :
23.
24.
啶侧�嬥�曕ぇ啶班�嵿ぎ啷� 啶�啶掂�囙い啷嵿い啷嵿さ啶ㄠ�嵿く啶� 啶ㄠぞ啶熰�嵿く啶оぐ啷嵿ぎ啷� 啶むぅ啶距お啶班ぞ [lokadharm墨 bhavettvany膩 n膩峁瓂adharm墨 tath膩par膩 ] NS XXIII 199
啶むじ啷嵿ぎ啶距げ啷嵿げ啷嬥�曕お啷⑧ぎ啶距ぃ啶� 啶灌た 啶曕ぐ啷嵿い啶掂�嵿く啶� 啶ㄠぞ啶熰�嵿く啶�啷嬥�曕�嵿い啷冟き啶苦�� [tasm膩llokap岣穖膩峁嘺峁� hi kartavya峁� n膩峁瓂ayokt峁沚hi岣� ] NS XXVI 127
25.
啶侧�嬥�曕ぇ啶班�嵿ぎ啷� 啶夃�曕�嵿い啷� 啶�啶苦い啷嵿い啶苦じ啷嵿ぅ啶距え啷�啶�啶む�嵿さ啷囙え 啶ㄠぞ啶熰�嵿く啶оぐ啷嵿ぎ啷嵿く啶距�� 啶膏す啶溹じ啶傕さ啶距う啶苦�曕ぐ啷嵿ぎ啶｀�� [lokadharm墨 ukto bhittisth膩n墨yatvena n膩峁瓂adharmy膩岣� sahajasa峁僾膩dikarma峁嘺岣� ] NS XIV 84
80