The term
Shastra means, order or direct. That is to say, it is the methodology that
keeps everything which comes in its purview under control. This does not mean
that it is rigid or restrictive, rather it provides a systematic approach and
answers to every possible question that arises in one’s mind. As these answers
are also inspired and in conjunction with the natural laws of life, it makes it
applicable irrespective of time. One such timeless classic hailed as a “Veda”
took birth to overcome the effects of mundane worldly affairs and which is
accessible to everyone and also entertaining, providing moral values too was
Natyaveda which was later systematised into Natyasastra. The credit of
formulating this “Veda” which has the essence of all the four Vedas goes to
Brahma. It was Sage Bharata Muni who endlessly worked on this and systematised
it into a Shastra two thousand years ago and is in vogue till date.
The
Natyasastra is a comprehensive work of all the elements that are needed for one
to stage a successful theatrical production. One of the verses in the shastra
says “There is no knowledge (Jnana), craft (Shilpa), science (Vidya), art
(Kala), yoga or action (Karma) that does not fall within the purview
of Performing Arts”. This says about the depth of this humongous
work. Also, then, poetry, dance, music, sculpture, architecture etc were
considered as an integral part of an art rather than separate streams. This is
the reason why Natyasastra addresses everything under the umbrella of
performing arts which makes it one of the best works.
Natya,
often misinterpreted as dance actually means ‘theatre’ that comprises music,
dance and acting. How the natya needs to be presented is discussed in the 36
chapters of Natyashastra which has about 6000 verses. Right from the
consecration, the theatre architecture, the offerings to the divine, followed
by the bodily movements which are supported by the musical interpretations and
the costumes to be worn. The important aspect of Bhava and Rasa which is the
emotion and the aesthetics is the major focus in this work. The kind of music
and lyrics that needs to be used appropriately is also mentioned. This work not
just discusses from the artist's point of view for the presentation but also
talks about the prerequisites to be a spectator which is an important aspect
for the success of the presentation. This harmonious combination of all the
essential components is the comprehensive framework of Natyaveda. The divine
impact of understanding this sastra is also mentioned in the concluding verse
of Natya Shastra which says “He who hears the reading of this shastra which is
auspicious and comes from the mouth of brahman will be free from sins and one
who puts it in to practise will attain the blessed goal which, Masters of Vedic
knowledge and performers of Yagna attain”.
With the
passage of time though the classical art forms developed into separate entities
which are the minor forms of drama, the source of reference for all these
entities is Nataysastra, even today. Few Sanskrit theatre presentations even
now are the true representation of this Shastra. It is important to remember
that Natya is a reflection of society and that is the reason it is necessary
for an artist to study the human habits and nature around him. Hence, the world
we live in becomes an authoritative source of knowledge as Bharata himself
says. Having known the world, the background of Shastra and Sampradaya becomes
important in presenting the classical art forms which otherwise loses its
essence.
#Submitted article to Indian News, Auckland, New Zealand
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