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E.W. Marasinghe

Published by Sri Satguru Publications, New Delhi, India

ISBN 10: 8170301769 ISBN 13: 9788170301769

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About this Item: Sri Satguru Publications, New Delhi, India. Condition: New. Dust Jacket Condition: New. Seller Inventory # 034305

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E.W. Marasinghe

Published by Sri Satguru Publications, New Delhi, India

ISBN 10: 8170301769 ISBN 13: 9788170301769

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From: Vikram Jain (New Delhi, DELHI, India)

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About this Item: Sri Satguru Publications, New Delhi, India. Condition: New. Dust Jacket Condition: New. Seller Inventory # 034305

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Marasinghe E.W.

Published by Sri Satguru Publications

ISBN 10: 8170301769 ISBN 13: 9788170301769

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About this Item: Sri Satguru Publications. Condition: New. pp. xxvi + 568. Seller Inventory # 7837444

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E.W. Marasinghe

Published by Sri Satguru Publications (1989)

ISBN 10: 8170301769 ISBN 13: 9788170301769

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From: BookVistas (New Delhi, DELHI, India)

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About this Item: Sri Satguru Publications, 1989. Hardcover. Condition: New. This is the most comprehensive Study done in recent years on the stagecraft of the Ancient Indian theatre. Admirably written with a living theatre in mind, the work in its fourteen chapters unfolds the mysteries of Sanskrit theatre production with particular emphasis on the playhouse, the role of the curtain, the dramatic preliminaries, the Employment of music, character-types, historic art, theatrical techniques and extraneous representation, all of which have received but scant attention of scholars of Sanskrit Drama but so vitally important to a proper understanding of the way in which Sanskrit plays took Physical shape on the stage. Chapter 13 is devoted to a detailed discussion on the different theatrical genres with a clear distinction drawn between rupaka and uparupaka forms. The author dispels the fallacy that the Sanskrit theatre catered to the nobility and the literati alone and remained from the very Beginning Monopoly of the royal court. The reader will soon realize that Sanskrit plays, despite royal patronage, served as a form of popular entertainment throughout its long History from about the dawn of the Christian era at least up to the close of the first millennium. Its emphasis on the theatrical aspects of Sanskrit drama makes this book much different from what has hitherto been written and published about this most intriguing theatre. Contents: Scheme of Transliteration Introduction I. NATYA-ITS MEANING II. DRAMATIC SHOWS IN Ancient INDIA III. ACTORS, AUDIENCE AND CRITICS : 1. Dramatic Troupe-stage-functionaries : Sutradhara, Nati, Pariparsvika, Vidusaka, Lesser Functionaries 2. Audience; Audience at a Court Performance 3. Contests and Disputes IV. THE PLAYHOUSE : 1. Open-air Performances 2. Temple Stages 3. Permanent Playhouses - The Three Types of Playhouse; Ground Plan; Mattavarani; Plan of Square Playhouse; Pillar Arrangement; Auditorium; Rangapitha; Rangasirsa; Tiring-room; Triangular Playhouse; Decorations; The Two Floors of the Playhouse; The Curtain V. DRAMATIC PRELIMINARIES : 1. Significance of the Jarjara; The Prologue VI. THE Music OF THE THEATRE : Musical Instruments; The Stage Orchestra; The Employment of Music; The Lasyangas; Dhruvas and Aksiptikas; Music in Act IV of the Vikramor-vasiya VII. RASA AND ABHINAYA VIII. CHARACTERS : The Hero; The Heroine; The Vidusaka; The Hero`s Rival; The Vita; The Kancukin; Child Roles IX. HISTRIONIC REPRESENTATION : Cans or Leg Movements; Sthdnas or Stances; Hastas or Hand-gestures; Head Movements; Gazes and Eye Movements; Representation of some Common Actions; Karanas or Composite Movements; Gatis or Styles of Walk; Representation of Vehicles and Animals; The Extent of Realism in Acting; Acting of Some Special Motifs, Omens, Swoon etc. on the Stage X. THEATRICAL TECHNIQUE : The Art of Word-painting; Words and Movement; Dramatic Dialogue; The Prologue or Forescene; The Act; Entries and Exits; Scene Manipulation-multiple Setting, Inserted Scenes, Moving Scenes; Arthopaksepas; Play-within-the-play; Unity of Time XI. EXTRANEOUS REPRESENTATION : Stage Properties; The Costume of the Actor; Ornaments and Garlands; The Make-up of the Actor XII. VRTTI OR MOOD : The Mythological Origin of the Vrttis; General Characteristics; The Bharati-vrtti; The Sattvati-vrtti; The Kaisiki and the Arabhati; Varieties of Arabhati; Varieties of Arabhati; Varieties of Kaisiki XIII. TYPES OF Drama : Nataka; Prakarana; Some Common Features of the Nataka and the Prakarana; Totaka; Four-act Plays-natika, Sattaka, Prakaranika, Dima; Three-act Play - Samavakara; One-act Plays-vyayoga, Ihamrga, Anka or Utsrstikanka; Prahasana, Bhana, Vithi Uparupakas - Dombi or Dombika, Nartanaka, Bhana or Bhanika, Bhanika, Prasthana, Srigadita or Sidgaka, Preksanaka or Prehkhana, Hallisaka, Durmallika or Durmilita, Samlapaka or Sallapak Printed Pages: 594. Seller Inventory # 38539

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E. W. Marasinghe

Published by Orient Book Distributors (1989)

ISBN 10: 8170301769 ISBN 13: 9788170301769

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From: Irish Booksellers (Portland, ME, U.S.A.)

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About this Item: Orient Book Distributors, 1989. Condition: New. book. Seller Inventory # M8170301769

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