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THEATRE SPACE IN INDI
PREPARED BY CHRISTIAN GABRIEL TOLENTINO
THEATRE 162: ASIAN THEATRE
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THE THEATRE OR PLAYHOUSES
• It was said that Indian playswere performed in speciallyconstructed theatres
• Only Kings and very wealthypeople owned playhouses
• NĀT-MANDI !NĀT"A-Open $alls where compeople watch spectac
• &layhouses can hold uspectators) comparedAthenian theatre !*+)
• The smallness of Indwas a necessary contheir peculiar techni
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Natyasastra.s playhouse devised /y 0i1va2arma$eavenly Architect#
3 types• O/long !0i2rista#• 4uare !5aturasa#• Triangular !tryasra#
-In total there are 6 types ofplayhouses
3 si7es
• 8arge !9yestha#!:O T$;
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PARTS OF THE THEATRE
•3=yrds , *>yrds? 6>ft , '@ft isthe largest% This
will /e dividedinto three parts
• The Tiring oom!Nepathya#
• The 4tage !agap
• The Auditorium!agamandala#
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The Tiring oom !Nepathya
• &laced on one end of thetheatre !*>yrds,'yrds#
• The place where actorsput on the costumes%
• Tumults) divine voiceshappen here%
• 4eparated from the stagewith two screens over itstwo doors) /etweendoors are the orchestra!Kutapa#
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The 4tage !agapitha#
• On two side of the stage there shoutwo Mattavaranis% ;ach occupying ''yrds and having ' pillars each%
• MATTA0AANI4- into,icated ;lephan•
No painted scenery% Care walls) li2e4ha2espearean walls%• Numerous description of Time and p
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• The 5onstruction of the playhouse is sacwor2 as the construction of a temple%
• The playhouse should have the form of a
mountain cave and two stories• The cave for acoustical purposes and hapillars) intended to sym/oli7e not only tcaste /ut also the geographical region acompass pointsF
• The Master !of dramatic art# After he hafasted for three days and nights) is to rathe pillars in an auspicious moment at d
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Ghite !Crahmin &illar# HArticlespuried with ghee and mustardseed% KheerJ&ayasa should /e givento Crahmins during the ceremony4ym/ol of purity and learning
associated with Crahmins
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ed !Ksatriya &illar#- &erformed withcloth) garland and unguent% Molassesshould /e given to twice-/orne caste4ym/ol of energy and strength
associated with Ksatriyas
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"ellow!0ai1ya &illar# aised in the north-western direction of the playhouse%Crahmins should /e given rice and ghee%4ym/ol of Gealth !
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Clue !Ldra &illar# aised in the north-eastern direction of the playhouse% Twice
/orn caste should /e fed /y Kesari
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•&illars should /e ,ed% If it movturns around evil conseuences w
follow% !e%g% &illar sha2es) enemy
state appears% Moves) drought coturns around) fear of death occur
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THE ZONES
• onal Division!2a2s-vi/hga#• $aving dened what is this
space for the actor% This should/e ,ed whether it is a city) aforest) a room% etc
• Ceing no scenery the spectatorsshould use their imaginationutmost%
• A 7one might change with theactor wal2ing a few steps overthe stage
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• Indication of ran2 in group wal2ing• ;PA84) wal2 side /y side
• One inferior% Other people mustsurround him
• Maids wal2ing /efore the master%
• Indicating distance great) small) andmedium%
• Traveling depends on how long you letthe actor travel) /ut representedthrough wal2ing%
• Movement of gods and demi-gods• Moves from towns) cities) forests) seas
etc) through an aerial car% Cut when theydisguise themselves as humans theytravel /y land%
• They have the power to move to any ofthe divisions%
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THEMES AND SUBJECT MATTERS
• = ules in 4ans2rit Drama• 4et in India
• 4et in the
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REFERENCES AND WEBSITES
• https://jambudveep.fles.wordpress.com/2012/03/natyashastra.pd
• https://en.wikipedia.or/wiki/!heatr
e"o"#ndia$%orms"o"#ndian"theatre
• http://www.caluniv.ac.in/lobal-md
ia-journal/&'!#()*-+*(2013/&rticle
"12",alyaban"(hattopadhyay.pd
•
• )ivin a !heatre istory by *dwin i
https://jambudveep.files.wordpress.com/2012/03/natyashastra.pdfhttps://jambudveep.files.wordpress.com/2012/03/natyashastra.pdfhttps://en.wikipedia.org/wiki/Theatre_of_India#Forms_of_Indian_theatrehttps://en.wikipedia.org/wiki/Theatre_of_India#Forms_of_Indian_theatrehttp://www.caluniv.ac.in/global-mdia-journal/ARTICLE-DEC2013/Article_12_Malyaban_Chattopadhyay.pdfhttp://www.caluniv.ac.in/global-mdia-journal/ARTICLE-DEC2013/Article_12_Malyaban_Chattopadhyay.pdfhttp://www.caluniv.ac.in/global-mdia-journal/ARTICLE-DEC2013/Article_12_Malyaban_Chattopadhyay.pdfhttp://www.caluniv.ac.in/global-mdia-journal/ARTICLE-DEC2013/Article_12_Malyaban_Chattopadhyay.pdfhttp://www.caluniv.ac.in/global-mdia-journal/ARTICLE-DEC2013/Article_12_Malyaban_Chattopadhyay.pdfhttp://www.caluniv.ac.in/global-mdia-journal/ARTICLE-DEC2013/Article_12_Malyaban_Chattopadhyay.pdfhttps://en.wikipedia.org/wiki/Theatre_of_India#Forms_of_Indian_theatrehttps://en.wikipedia.org/wiki/Theatre_of_India#Forms_of_Indian_theatrehttps://jambudveep.files.wordpress.com/2012/03/natyashastra.pdfhttps://jambudveep.files.wordpress.com/2012/03/natyashastra.pdf
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THANK YOU!!
HAVE A HAPPY BR
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