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Sanskrit drama
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Drama as a distinct genre of Sanskrit literature emerges in the final centuries BC, although its exact origins remain unknown. Famous Sanskrit dramatists include Shudraka, Bhasa, Asvaghosa and Kalidasa. Though numerous plays written by these playwrights are still available, little is known about the authors themselves.
PrecursorsThe Yama-Yami episode and other Rigvedic dialogue hymns present one of the earliest forms of dramatic dialogue in literature, and can be argued to be an early precursor of Sanskrit drama. The nature of the plays ranged from tragedy to light comedy. Dramatists often worked on pre-existing mythological or historical themes that were familiar to the audience of the age. For instance many plays, drew their plot lines from the Ramayana and the Mahabharata, the great epics of India.
Much as in ancient Greece, drama in India eventually developed into a tradition that was independent of religious ritual. Some argue that Hellenistic influences following Alexander the Great's invasion of India may have influenced Sanskrit drama. Although Orientalists have taken the relation of the word "Yavanika" (the curtain used in Sanskrit Drama) to "Yavana" (Greek) as evidence for Sanskrit drama being exposed to Hellenistic influences, there is no conclusive evidence that this was the case and the origins of Sanskrit drama remain open to debate.
Mricchakatika (The Little Clay Cart)One of the earliest known Sanskrit plays, this play is thought to have been composed by Shudraka in the 2nd century BC. Rife with romance, sex, royal intrigue and comedy, the juicy plot of the play has numerous twists and turns. The main story is about a young man named Charudatta, and his love for Vasantasena, a rich courtesan or nagarvadhu. The love affair is complicated by a royal courtier, who is also attracted to Vasantasena. The plot is further complicated by thieves and mistaken identities, and thus making it a greatly hilarious and entertaining play. It invited widespread admiration when staged in New York in 1924. The play was made into a 1984 Hindi movie Utsav, directed by Girish Karnad. The Indian play depicted in the film Moulin Rouge! may have been based on The Little Clay Cart.
Natya Shastra The Natya Shastra (literally "Scripture of Dance," though it sometimes translated as "Science of Theatre'") is a keystone work in Sanskrit literature on the subject of stagecraft. The Natya Shastra dates to around the second century AD.
The text specifically describes the proper way one should go about staging a Sanskrit drama. It addresses a wide variety of topics including the proper occasions for staging a drama, the proper designs for theatres, the types of people who are allowed to be drama critics and, most especially, specific instructions and advice for actors, playwrights and (after a fashion) producers.
KalidasaKalidasa (3rd-4th cent AD) is easily the greatest poet and playwright in Sanskrit, and occupies the same position in Sanskrit literature that Shakespeare occupies in English literature. He deals primarily with famous Hindu legends and themes; three famous plays by Kalidasa are Vikramorvasiyam (Vikrama and Urvashi), Malavikagnimitram (Malavika and Agnimitra), and the play that he is most known for: Abhijñanasakuntalam (The Recognition of Shakuntala). The last named play is considered to be greatest play in Sanskrit. More than a millennium later, it would so powerfully impress the famous German writer Goethe that he would write:
- "Wouldst thou the young year's blossoms and the fruits of its decline
- And all by which the soul is charmed, enraptured, feasted, fed,
- Wouldst thou the earth and heaven itself in one sole name combine?
- I name thee, O Sakuntala! and all at once is said. "
Kalidasa also wrote two large epic poems, Raghuvamsham (The Genealogy of Raghu) and Kumarasambhavam (Birth of Kumara), and two smaller epics, Ritusamhaara (Medley of Seasons) and Meghadutam (The Cloud Messenger), another 'perfect' work.
Kalidasa's writing is characterized by the usage of simple but beautiful Sanskrit, and by his extensive use of similes. His similes have earned him the saying, Upama Kalidasasya (Kalidasa owns simile).
DandiSri Dandi is a 6th-7th century Indian Sanskrit author of prose romances and expounder on poetics. Although he produced literature on his own, most notably the Dasa Kumara Charita, translated in 1927 as The Adventures of the Ten Princes, he is best known for composing the Kavyadarsa ('Mirror of Poetry'), the handbook of classical Sanskrit poetics, or kavya. His writings were all in Sanskrit.
He is also known for his complex sentences and creation of very long compound words (some of his sentences ran for half a page, and some of his words for half a line).
A shloka (hymn) that explains the strengths of different poets says: "Dandinaha padalalityam" (Dandi is the master of playful words).
Other Major PlaysThere are lot of other great plays like Ratnavali and Nagananda, by Sri Harsha (7th century), Mahendravikramavarman's Mattavilasaprahasana, Shaktibhadra's Aascharyachoodamani (Ascharyachudamani), Sri Harsha’s Nagananda, Kulasekhara’s Subhadradhananjaya and Tapatisamvarana, Neelakantha’s Kalyana Saugandhika and Sri Krishna Charita.
PerformancesSanskrit plays were very popular and were staged in ancient times all over India. Now the only surviving ancient Sanskrit drama theatre is Koodiyattam, which is preserved in Kerala by the Chakyar community. This form of Sanskrit drama is thought to be at least 2000 years old and is one of the oldest living theatrical traditions in the world. All major Sanskrit plays such as that of Bhasa, Sri Harsha, Shaktibhadra etc. are performed in Koodiyattam. Guru Natyacharya Vidushakaratnam Padma Shri Mani Madhava Chakyar choreographed and directed plays like Kalidasa's Abhijñanasakuntala, Vikramorvasiya and Malavikagnimitra; Bhasa's Swapnavasadatta and Pancharatra for the first time in the history of Koodiyattam. He popularised Koodiyattam and rejuvanated the only surviving Sanskrit drama theatre inbr>
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