Analyzing Theatre in India, Research Paper Example

The Indian Heritage of Sanskrit Plays

India, as part of a landscape which teemed with people for thousands of years, has seen its fair share of cultural shifts yet remains mindful of its religious and cultural roots. For the Indian people, Sanskrit theatre represents their ancient theatrical heritage, and- due to its special relationship with religion- enjoys constant support as an art of necessity. Throughout history, the people of India spoke many languages even in the same time period, so the performance of plays in Sanskrit was only one of many options, but today Sanskrit theater has become synonymous with the country’s classical, spiritual playwright tradition. The priesthood tried again and again to shield India’s earliest theatrical texts from alteration, and, as a result of their respect for the art as a form of worshipping in the gods’ chosen pastime, they selectively chose works of a similar caliber to perform from those ancient days until the end of time.

Background

The tale behind the creation of the genre known as Sanskrit theatre sheds light upon ancient and modern Indians’ methods of performance. During the early years of creation, one god went to the creator-god, Brahm?, and asked for a distraction because immorality spread so thickly through all levels of society. Brahm? meditated about a common entertainment for every social class- divided into priests, warriors, tradesmen, and peasants and decided to create a fifth book of religious hymns for drama and utilize existing elements of the first four hymns, or Vedas. It was the gods’ duty to demonstrate to the mortals the importance and practice of the new Veda, and they accomplished this by summoning a wise man, Bharata, and his one hundred sons to apprentice in the theatrical arts, as demonstrated by the gods whom the original historical texts represented. (Mehta 25) Throughout the centuries, the Indian priesthood prided themselves on remaining true to the original texts, and the few lauded playwrights to add new productions to the accepted bunch of Sanskrit plays were shielded from editing or tampering with almost the same degree of protectiveness. For example, many plays bear the name of early playwright Bhasa. However, his actual authorship of many of these works remains questionable. (“Kerala’s Mahabharata” 126) If Bhasa actually wrote the plays was less important to the priests of the Sanskrit plays. They worried about the preservation of works which they deemed worthy, and bringing more plays under that classification was easier if they were attributed to a famous and respected author. In 1965, the ancient Sanskrit traditions- present mainly in southwest India today- became formally recognized as secular and included in efforts to provide a consistent training for future preservation of the works which the priesthood so carefully guarded in the previous centuries. (Trompetter 302)

Discussion

Despite “its contrasting color and variety, [Indian theatre] has an underlying and fundamental cohesion.” (Richmond, Swann, and Zarrilli 21) Because the theater remained intimately connected to the people’s awareness of- and connection to- religion, Bharata the wise man commanded his listeners to cleanse themselves before they could hear the tale about the birth of theatre. (Richmond et. al 25) Since Bharata spoke with the gods directly, the earliest Sanskrit theatre plays originate from him or simply restate or summarize the same information that he provides. Even though most ancient productions resembled Bharata’s plays, two other examples, ??r?gadeva’s Sa?g?taratn?kara and Vi??hala’s Nartanani?aya, elaborated on the very short remarks made by Bharata. (Bose 43) Despite these differences, ancient plays only added details to the original histories; Sanskrit plays never sought out a production for the sake of entertainment itself. That purpose remained secondary to its religious and humanitarian functions as the one thing that brought swarms of people together. The production of a play was like a communion with the divine tales which Sanskrit theatre so often focused on. The actors filled in as representatives, an empty vessel for the greater truth which they demonstrated. As a result, Mehta writes that siddhi, a successful rapport, was achieved between the theatrical players and the audience. (Richmond et. al 23)

Within the Sanskrit tradition, one of the most popular traditions of the original, temple-based performances of such plays were called K??iy???am, and the evolution of this central part of the Sanskrit tradition proves controversial because of the sacred nature of the formal and informal rules which govern Sanskrit theatre. (“Ethnographic Reflections” 78-79) Kerala’s K??iy???am survived the passing of generations as a transcendental medium in its own right, its practices hailed as “masterpiece of the oral and intangible heritage of humanity”. (“Kerala’s Mahabharata” 16) Because the K??iy???am practices new ways but rarely includes them in the directional text of its productions, there are few historical supports to draw upon and justify the modernization of aspects of the classic plays. (“Ethnographic Reflections” 78-79) In contrast to Western theatrical trends, Indian play texts often avoid depictions of death despite the references to death within the primary text of the Nä?yas´ästra, the practical guide book for the practice of the sacred dramatic arts. (“Dying On Stage” 422) The K??iy???am play “Death of Ankhata” chose to explore some of this subject matter but did so in more lengthy prose. (Trompetter 303) Sanskrit plays included a sub-genre of heroic voyages- complete with duels in defense of the honor and well-being of the women that the leading men love. The women themselves play little part in the ancient traditions, and their parts are less effectual, befitting the customs of the time period. (Mehta 115-118)

Although priests demonstrate the dramatic Veda in temples, it should be noted that the K??iy???am priests perform sacred duties that are not as ritualistic as the traditional roles associated with priesthood. (“Ethnographic Reflections” 79) Because the Nä?yas´ästra laid out specific directions for the theatrical Veda, actors often focus more on technical skills, such as clearness and footwork, instead of the visual enticements of productions designed only for entertainment. (Bose 43) These technical skills were necessary to maintain the mental and physical strength needed to complete their dramatic productions- some of which might last days in the telling of one tale. (Trompetter 302)

These theatrical traditions have become a popular tourist sight. Modern priests of the Sanskrit play productions leave a flame burning in the center of the stage near the audience as a reminder that the work is first and foremost an offering to the gods in the style of the ancient dramatic Veda. The audience is greeted after this offering to the gods. (Trompetter 302) Although the plays happened for centuries within the walls of the temples, many have recently moved Sanskrit theatre to just outside their walls. (“Ethnographic Reflections” 79-81) This trend raises some objections, but supporters of open access to the tradition can argue that creator-god Brahm? only created the tradition as a way to unify and appease the unruly masses. Sullivan writes that the faithfulness of the K??iy???am texts to the earlier predecessors differed in the north and the south of India. The Mahabharata became one of the first southern texts to include new details which did not directly echo or paraphrase the works originated from Bharata, the wise man who was first blessed with the theatrical Veda. (“Kerala’s Mahabharata” 15)

Famous classical Sanskrit playwright Bhasa may not have written every play attributed to his name. As the Eastern ‘Shakespeare’ of his time, the name of the author Bhasa automatically drew greater audiences and generated funds as more people donated to the performing priesthood, and some plays were likely unfinished drafts or works written not even in his lifetime. (16-18) It would be impossible to prove any inconsistencies beyond the shadow of a doubt, because artistry itself requires a great deal of change and flexibility from its authors. Both Indians and visitors interested in these theatric arts often assume that the nature of these early religious storytelling productions must all be dramatic- with the mystical stories of gods and creation, the wars, the disobedience of humanity and the realization of the consequences of their actions, etc. The 2011 festival which exclusively produced K??iy???am plays opened with a fantastic, humorous account of a drunkard and the god Shiva travelling through India. Since many texts represent Shiva as something of a trickster god, the comical take on the gods’ stories lightens the relationship between the gods and humanity. Admittedly, the text is little-known and rarely performed. (Trompetter 302-303)

Concluson

Although the Sanskrit theatre and its K??iy???am tradition will likely survive the changing tides of time, they are not unscathed by the increasing cynicism of people in this technological age. Participation in faith does not hold the influence or benefits that it once did, and the enactment of these traditions continues mainly in the southwest corner of the country only- with the patronage of tourists, cultural anthropologists, and other foreign visitors taking up a surprisingly active role in the preservation of India’s great heritage of Sanskrit theatre. (“Ethnographic Reflections” 83-85) Despite differences of personal faith, the importance of this type of theater gives modern people a glimpse into a very intimate aspect of India’s early culture. It is as important as an indigenous tribe’s fables or a caveman’s writing in that it demonstrates what aspects of life can be expected to change or remain the same.

Works Cited

Bose, Mandakranta. “From Craft To Art: The Aesthetic Ends Of Technique In Sanskrit Texts Of Classical Indian Dance.” Journal Of Hindu Studies 4.1 (2011): 42-53. Academic Search Complete. Web. 11 Apr. 2014.

Madhavan, Arya. “Eyescape: Aesthetics Of “Seeing” In Kudiyattam.” Asian Theatre Journal 29.2 (2012): 550-570. Academic Search Complete. Web. 12 Apr. 2014.

Mehta, Tarla. Sanskrit Play Production in Ancient India. Delhi: Motilal Banarsidass Publishers, 1999.

Richmond, Harley P., Darius I. Swann, and Phillip B. Zarrilli (eds.). Indian Theatre: traditions of performance: First Indian ed. Delhi: University of Hawaii Press, 1993.

Sullivan, Bruce M. “Dying On The Stage In The N??ya??stra And K??iy???am: Perspectives From The Sanskrit Theatre Tradition.” Asian Theatre Journal 24.2 (2007): 422-439. Academic Search Complete. Web. 9 Apr. 2014.

Sullivan, Bruce M. “How Does One Study A “Masterpiece Of The Oral And Intangible Heritage Of Humanity”? Ethnographic Reflections On Kerala’s K?tiy?ttam.” Method & Theory In The Study Of Religion 21.1 (2009): 78-86. Academic Search Complete. Web. 10 Apr. 2014.

Sullivan, Bruce M. “Kerala’S Mahabharata On Stage: Texts And Performative Practices In Kutiyattam Drama.” Journal Of Hindu Studies 3.1 (2010): 124-142. Academic Search Complete. Web. 10 Apr. 2014.

Trompetter, Amy. “Kutiyattam Festival (Kutiyattam Mahotsavam).” Asian Theatre Journal 29.1 (2012): 302-304. Academic Search Complete. Web. 11 Apr. 2014.