The present study is to offer a glimpse of the various types of dramatic representations in Sanskrit which were present in earlier times. There is a clear line of demarcation between the types, which were meant for the elite group with a refined taste and those meant for masses. The study is divided into five chapters. The ten Rupaka varieties, the four derivative types and the other twenty two types known by various names are dealt with, in three parts, along with the introductory and the summary chapters.
I hope the study will be helpful to know the history of drama as well as dance in former times.
CONTENTS
|
Chapter - I |
1-10 |
|
INTRODUCTION |
|
|
Meaning and purpose of Drama |
|
|
Classification of Drama by Bharata |
|
|
Evolution of Nrtya types and their characteristics |
|
|
The term Rupa, Rupaka, Nrtta, Nrtya and Natya |
|
|
The Sankirna and Bhavatmaka Bhedas |
|
|
Chapter - II |
11-26 |
|
THE RUPAKA TYPES |
|
|
Nataka |
11 |
|
Prakarana |
13 |
|
Utsrstikanka |
15 |
|
Vyayoga |
16 |
|
Bhana |
18 |
|
Samavakara |
19 |
|
Vithi |
21 |
|
Prahasana |
23 |
|
Dima |
24 |
|
Ihamrga |
25 |
|
Chapter - III |
27-35 |
|
THE SANKIRNA TYPES |
|
|
Natika |
27 |
|
Trotaka |
30 |
|
Sattaka |
32 |
|
Prakaranika |
34 |
|
Chapter - IV |
36-66 |
|
THE BHAVATMAKA TYPES |
|
|
Preksanaka |
36 |
|
Sidgaka |
38 |
|
Ullopyaka |
40 |
|
Dombika |
42 |
|
Bhana |
44 |
|
Prasthana |
46 |
|
Bhanika |
47 |
|
Prerana |
49 |
|
Ramakrida |
50 |
|
Hallisaka |
51 |
|
Rasaka |
52 |
|
Kavya |
54 |
|
Gosthi |
56 |
|
Durmilita |
57 |
|
Nartanaka |
58 |
|
Natyarasaka |
59 |
|
Silpaka |
61 |
|
Sallapaka |
62 |
|
Mallika |
63 |
|
Kalpavalli |
64 |
|
Parijataka |
65 |
|
Vilasika |
65 |
|
Chapter - V |
67-77 |
|
CONCLUSION |
|
|
BIBLIOGRAPHY |
79-84 |
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