INDIAN ANCIENT TRADITION OF THEATRE
Dr. Satyabrata Rout
 |
| Purvarang rituals from the play "Urubhangam" written by Mahakavi Bhasa in 250 bc. |
Oral
tradition was a common practice in the Vedic period. Patanjali`s Mahabhashya--Great Discourse-- mentions
a tradition of granthikas and sobhanikas prevalent in ancient India.
These Granthis (narraters) not only recited the legends of great fight of Bali and Sugriba from Ramayana or the killing of Kansa by Krishna from
Hari Katha, but also performed them.
Paul Kirutz in his book "The making of Theatre history" mentioned;
[2]“Archaeological excavations revealed dance
in India was over 5000 years ago. Dance and drama continued throughout India
during Vedic, Epic and classical period. Before the invasion of Aryans, the
Dravidian kings amused themselves with minstrels and festivals. Aryans, who invaded India around 1600 B.C,
dominated its spiritual and cultural life. Sanskrit became the elite language
used only at court and temple culture. Oral traditions with the dialects
descended from the Dravidians were continued. The Rig-Veda suggested that
dramatic theatre came into being around the 8th century B.C. In
addition, Jataka Stories depicting Indian life between 600 B.C – 300 B.C
contain references of theatre”.
The Story Telling Tradition
Vishnu Sharma’s [3]Panchatantra, attributed to 3rd
century B.C, contributed towards performance traditions in India. This book,
originally written in Sanskrit, contains stories dated back to the oral
tradition of ancient story-tellers living near by the sea among the fishing
community. The stories were performed or narrated by these nomadic communities as a
part of an age old tradition. They were collected, re-interpreted and analysed by the scholar Vishnu Sharma for the wayward sons of the king Sagara Dutta.
The early evidence of theatre at the Sitabenga cave in Sarguja district of Chhattisgarh region of Middle India strengthens
the implication of dramatic performances during the pre-classical era.
Inscriptions describe the performances of poetic renderings from Yadu Vansha and Hari Vansha--the stories of Krishna dynasty, which were a usual practice
in a small amphitheatre built at Sitabenga cave for this purpose.
Similar performance spaces where the ancient theatrical activities were
practiced are found in the caves of Ranigumpha in Udaygiri hills near Bhubaneswar. Constructed by the famous Chedi ruler Kharavela
during 2nd-1st century B.C, Ranigumpha cave provides enough evidences of the
existence of a Ranga-mandapa, which
followed the principles of ancient
theatre architecture and tradition. Other evidences are present in the temple inscriptions of
ancient India in South and West, built subsequently during the reign of different rulers; Chalukya, Pandya, Ahira, Bhoi, and
others. In the rock shelters of Bhimbaitka in Madhya Pradesh or in the
Delta of Nagarjunakonda in Deccan plateaus, we can see the traces of performance
spaces during the pre Vedic and Classical era.
In reference to the Nagarjunakonda amphitheatre, Professor H.V Sharma puts
some light;
[4]“It
is also probable that the excavated theatre is a relic of the degenerated form
of the caturasra of the classical kind. In that state, the theatre might have
gone to serve the purpose of the popular Buddhists’ presentation”
 |
| Ranigumpha cave theatre in Udaygiri hills, Bhubaneswar, Orissa, Constructed by the king Kharavela od Chedi dinesty in 2nd century b.c |
By looking into these evidences, history and folklores, we can draw an
outline of performance tradition in the pre-historic, Vedic and ancient India. It
is a matter of fact that, theatre always remained associated with religion and
rituals. It was practised as a major community activity and flourished as a
social art among people. Indian culture has developed and nourished under the
patronisation of the Vedic-cult and Buddhism in which all the activities and
ritualistic practices lead to offerings and prayers. Theatre, a tool for
offerings, also became an integral medium of worship and prayer. In the Vedic
era, special places were designated for dramatic activities either inside the
temple or in its premises. These ancient performance spaces were covered with
temporary roofs or even open to the sky. These improvised spaces were probably used
both for sacrifices and performances. We have enough evidences of these types
of performance spaces all over India. These Gramya
Natya Mandapas (The rural Theatre) were ancestral structures of the classical Indian Theatres.
With the decline of Sanskrit Drama in 10th -11th century,
traditional and folk performances occupied the centre stage. Theatre became free from the hands of temple authorities and royal patronisation and became an
integral part of common life. Its form and colours were also changed
accordingly. Language of the common folks became the vocabulary of theatre. native
dialects, local costumes, folk music, dance and folk colours changed the performances
into regional. Even today Indian theatre is best known for its regional flavour. We can experience verities of theatrical forms practised
in the length and breadth of the country with different dialects, costumes and
attitudes. Some of these forms are developed out of our social activities while
the rest are an extension of temple culture and ritualistic practices.
By collecting references from different sources one can reach a
conclusion that Indian performance practices were a part of the lifestyle of its native people. It
emerged from the soil and became life itself. But we don’t have
any authentic record of these performance practices for further study. The
reason is rooted in the Indian philosophy; that life itself is Maya- illusion.
Whatever we experience in this earthly world is only illusion, thus
keeping a record of illusive activities would be foolhardy. Most Indian authors
and playwrights tdid not even mentioned their names and dates on their
manuscripts. Nothing is clear about their performances and practises. No
permanent architectural constructions of theatre houses and performance spaces
exist in the country. Some scholars are even doubtful on their existance in ancient times. Natyashastra, the dramaturgy of performance
practice in ancient India only indicates method and techniques than practical
and historical evidences. But somehow post-Natyashastra
era witnessed performative traditions–Kootiyattam and Kathakali--which
still continue in the south of India. Koothambalam, the permanent
performance play house inside a temple complex in Kerala provides some evidence
towards the glorious performance tradition of ancient Indian theatre. By
analysing all these evidences and references we can assume the performance
spaces where ancient practices might be continuing.
These evidences are purely based on the following factors:
1. From descriptions of Natyagriha
nirmana- Construction of playhouses, in Natyashastra.
2. From Indian history and myth.
3. From the study of Indian traditional
and folk theatrical forms.
As discussed earlier, space is an integral part of performances, irrespective
of structure and nature. In the beginning of human civilisation, man may have
used public spaces for social gatherings and rituals. Our ancestors worshiped
their deities for the well being of family and community. They offered prayers
and performed rituals in the way of native dances, music and activities which
might be the origin of theatre. The rock arts and cave paintings in pre-historic
civilisation are evidences of the existence of performance spaces for
community-based social activities.
Few performance spaces identified exist in the heart of mountains, deep
within dense forests, caves or in the temple premises. This guides us to form a
conclusion beyond doubt that, much before the performance practises in Greece, Rome and Indian Classical theatre, we had a strong performance tradition in the form of rituals,
entertainment and activities.
Contd….
[1] Lava-kusa parampara, otherwise known as Oral
traditions of India, continues in some of the regions even today. It is the
biographical presentation of someone’s life story in the form of ballads and
narrations. The tradition which continues from the Vedic period is considered
as one of the strongest and finest tradition of the world. The story-telling
tradition passes from generation to generation without any written text.
[2] The Making of Theatre History by Paul Kirutz; page-66, Published by:
Prentice Hall College, Div. USA.
[3] Panchatantra
was written by Pt. Vishnu Sharma during 3rd Century B.C. The book
depicts the essence of morality in the form of stories narrated by animal
characters like; Fox, Crow, Owl, Deer, Mouse, Fish, Snakes etc.
[4] “Caturasra Madhyama Natyamandapa”-Author: Prof. H.V
Sharma, National School of Drama Publication- Pg: 41
...........
No comments:
Post a Comment