Nāṭyaśāstra, Sanskrit Drama And Its Theatre

In the classical tradition of Sanskrit drama, there is hardly any author who is unacquainted with the Natyaśāstra of Bharata. It is presumed that Bhāsa, being anterior, does not exhibit the influence of the tradition of NS, and the structure of the so-called Bhāsa-plays, as well as several motifs utilised therein violate Bharata's maxims. Bhāsa

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त्रिपाठी देखते हैं कि संस्कृत नाटककारों ने भरत के नाट्यशास्त्र का कितना अनुसरण किया। भास के व्यायोग, समवकार और उत्सृष्टिकाङ्क उसकी परिभाषाओं पर पूरे नहीं उतरते; कालिदास ने उसका सौन्दर्यतत्त्व आत्मसात् किया; भवभूति और राजशेखर उससे हटे। अन्त में राजसभा, मन्दिर तथा खुले रंगमंच की तीन धाराएँ बताई हैं। Tripathi traces how far Sanskrit dramatists followed Bharata's Natyasastra. Bhasa's vyayoga, samavakara and utsrstikanka only loosely fit its definitions; Kalidasa absorbed its aesthetics and answered the santa-rasa debate; Bhavabhuti and Rajasekhara departed from it. He distinguishes three channels of growth: court, temple and open-air theatre.

Written by the archive’s cataloguers, not by the author.