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Bharatha’s elaboration of using the body language, analyzing every limb and their movements is a testimony to the great soul’s command over the anatomical components of the human body and how to effectively mobilize them to convey a message. Chapters 9 (Hasthabhinaya) and 10 (Shareerabhinaya) will justify this statement. Unless one studies the human emotions in depth, their cause and effect, Chapters 7 (Rasavikalpam) and 8 (Bhavavyanjakam) would not have been included in the science of dramaturgy. If we try to analyse any situation in our daily life, it would be easy for us to understand how Bhartaha worked out the theory of Rasas and the reason for its taxonomical gradation. In relation to the Rasas he has discussed the links between them, their colours and the respective musical notes. There is some amount of abstract acceptance. Yet the interrelations among emotions, colours and sounds.

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Chapters 13 (Gathiprachaaram) and 14 (Kaakshyaprvrithidharmivyanjakam), give us extensive comments on character-based movements. Entry, exit, movements etc. though have been described for stage business; they are all what can be seen in our daily life if we are keen observers of human mannerisms and their relative personality pictures. How one should decide on the production details of a stage presentation, depending on the targeted audience has also been dealt with in detail. Chapters 24, 25 and 26 (Saamanyabhinayam, Vaisheekam and Chithrabhinayam) complete the personality studies. The types of heroes, heroines, supporting characters and the art of enchanting are all included in detail, in these chapters.

Chapter 23 (Aaharyabhinaya) tells us about a saintly mind working in terms of facial colouring, costumes and ornaments – a total fashion designer. His deliberations one situation bound decoration, personal as well as environmental; tell us about Bharatha’s sense of turn out in relation to social customs and traditions. Chapters 15 to 22 have been set apart for the various aspects of linguistics and the types of plays. Chapters 28 to 33 elaborately deal with music, instruments and their structure and types. Sidhivyanjakam (Ch.27) lists the qualities required to be a good critic or a judge. What level of achievement is expected by a perfect Natya has also been mentioned. According to Bharatha, the highest level is ‘Daivisidhi’ – The audience remains spellbound even after the presentation is over. The specific hours of the day during which the different modes of exposition are to be employed sound so practical that they exactly match with the human mind, activity and receptivity during the different hours of a day. What a well thought about production plan!

Chapters 34 (Prakrithivicharam) and 35 (Bhoomikaavikalpam), are reviews and summaries of characters status and analysis, including how different persons are to be selected to enact the roles of different characters. He does not forget to mention who all should be present in a team to present a Natya. Even the washer man and barbers are not left out.

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Chapter 36, Natyavatharam , is a very important. It talks about how the sons of Bharatha got intoxicated with the knowledge and jumped into its misuse, by mocking at the saintly ones. The curse fell up on the sons of Bhartaha to be born as earthly beings. This was materialized during the period of the king Nahusha. The stress is on the fact that ‘knowledge when misused will boomerang back and trouble or destroy the doer’. Of course, this was a reason for the propagation of Natya on this planet.

Bharatha sums up,
“If Natya is revered and practiced with posterity, the earth will be covered with rich fauna. Beggary and ailments will vanish. Animals and pious men will live peacefully. A real king will rule the kingdom.”


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