History of Indian Drama

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History of Indian Drama

History of Indian drama acts as the most charming, most enigmatic and

most appreciating part of the whole genre of drama in India, given its

incredible reach and limit to perfection, since ancient times. India is one

of the single-most countries that triumphantly can sing its own praises

of an indigenous dramatic tradition, still remaining impassive from any

foreign influence. When Hindu plays first were acknowledged by the

European living, through Sir William Jones translation of Sakuntala in

1789, it was vastly conceived then that Greek literature had got through

into India, thoroughly charming their playwrights on the way. However,

that opinion is not an all prevailing concept in present times. A bunch of

the critics now come to an agreement of the fact that Hindu drama was

neither a shallow appropriation nor a shameless replication, but the sole

product of native genius. The dramatist Bhasa or Bhrata (as he is

acknowledged by one or the other name), thirteen of whose works have

been presently regained and published, is traditionally considered to have

been the founder and Father in the history of Indian drama. There

however, exists substantial disarray with regards to the authorship of

umpteen plays, due to the fact that it was the habit to assign a literary

work to the ruler at whose court, or under whose benefaction, the real

author was bound to survive.

History of Indian drama for the very first time divulges about a dozen

plays being written in India most likely within 400 and 900, which was

heart-rending enough to excite the interest and appreciation of present-

day students. Sometime during those five hundred years had survivedthe two biggest playwrights in India, Kalidasa and Bhavabuti, whose

compositions were ascribed to the emperors Sudraka and Sriharsha

respectively. However, gaping differences of opinion exist with regards

to the dates of these two authors, especially of Kalidasa. Kalidasas

birth and survival during the most prolific period in the historical

evolvement of Indian drama establish that there lies a difference ranging

from half a century before the birth of Christ to the sXIth century

afterwards. Professor Kunow, in Das Indische Drama (1920), places

Kalidasa at approximately 400. Bhavabuti was a Brahmin by birth from

south India and possibly belonged to the early eighth century. DuringBhavabhutis heyday, he must have been hugely admired and respected,

Dr. DivyabhaAssistant Professor

Ph.D (English)

PROFILEShe is Ph.D in English Literature.

Her area of research was "Feminist

Consciousness in the Novels of

Shashi Deshpande". She has

presented several papers in

National and International

Seminars and Conferences. She

has done a post graduate diploma

from CIEFL (Central Institute for

Foreign and English Language)

Hyderabad. She has supervised

several candidates for M.Phil.

disseratation. Before joining ITM

she has worked with IPEC

Ghaziabad as English Faculty and

Soft Skill Trainer.

The Journal of Department of Applied Sciences & Humanities

Vol. XI, (2011), pp. 27 - 30

ITM University

http://www.itmindia.edu


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for the people looked up to him as Srikantha, or, he in whose throat exists fortune.Three dramatic

compositions survive from each of these authors.

The colonial period in the history of Indian drama and its evolvement had brought in a radical and almost

whirlwind phase for dramatists from the country. Quite understandably, the best known drama to the British

was Sakuntala by Kalidasa, which was translated into English by Sir William Jones in 1789. The play was

successful enough to etch upon an insightful impression upon such scholars like Goethe (legendary German

poet and novelist and dramatist) and created something like an almost literary sensation. The play Sakuntala

is divided into seven acts and the story is believed to have been borrowed from the first book of the

Mahabharata. Its hero, Dushyanta, was a much distinguished and illustrious king of ancient times. The action

within the play almost travels in a two way mind-blowing motion, in part within the territory of fantasy and

in part, amidst the supernatural. The dialogue delivery is always witnessed to be exceedingly poetic and

idealistic. Due to Sakuntalas almost limitless imaginative insight, gallant and majestic poetical renditionand emotional appeal, Kalidasas play has been esteemed by people of every nation as one of the

masterpieces of dramatic literaturein India.

The Rise of the Moon of Knowledge is an allegorical and theological dramatic piece in sXI acts, within

which non-figurative and non-objective qualities such as Will, Reason and the stupidities and vices of man

are brought back to life and made to stand in conflict against one another. The much apparent parallelism

between the play and the European ethicses of the late Middle Ages is of considerable interest, a significant

factor included within the genre of history of Indian drama. A political composition named The Signet of

the Minister, written approximately in 800 and another called as The Binding of a Braid of Hair, are amongst

the most admired and well liked productions of plays in ancient India. Besides these, the titles of more than

five hundred Sanskrit dramas are acknowledged in present times; and more than a dozen have already

been translated into umpteen modern European languages. From them and from respective other references,

much has been learned and ascertained concerning the technique and ideals of the ancient Indian dramatic

history and stage.

Indian drama and theatre is one of the oldest art forms, always regarded as the most former, just like in

Indian music and dance. History of Indian drama, beginning from the ancient Vedic Age, moves on to the

classical theatre traditions, also influencing modern theatre, particularly the Hindi, Marathi and Bengali theatres

down the line. Looking back towards the historical path, the beginning of the ancient dramas can be very

much witnessed and observed in the Rig Veda, together with Pururava - Urvashi, Yama-Yami, Indra-Indrani,

Sarma-Pani and Ushas Suktas. Even the epics of Ramayana, Mahabharata and Artha Shastra are instilledwith specific techniques of dramas. Sages Valmiki and Vyas and Panini also had shed decisive light on

dramaturgy and Patanjali had heartily contributed in his Mahabhashya that there existed two dramas, namely

- Kamsa Vadha and Vali Vadha. Actors not only served as dancers but also as musicians. Vatsayana (author

of Kama Sutra) states in his legendary treatise of love and art of love-making, that kings were of the habit

to arrange for programmes of acting through actors in festivals and celebrations. As such, the origin of

dramas found from the early Vedic age are considered the most authentic and authoritative amongst all the

later creations.

Later, by the mid-A.D. 300s, history of Indian drama enunciates that play acting and penning in the Sanskrit

language had developed and flourished to a considerable extent, which actually served as epic poems. Eachplay was organised around one o the nine Rasas (standing for moods and sentiments). The primary aim

was to reproduce and emote harmony, as such authors kept off from moods that would come to clashes

Dr. Divyabha


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and all these plays came to a jubilant closing. In historical times in Indian drama, there mainly existed sXI

dramatists, consisting of Bhasa, Kalidasa, Bhavabhuti, Shudraka, Bhatta Narayana, Vishakhadutta and

Harsha. The plays were composed on the basis of the Hindu epics and the puranas.

Bharata is considered the founder of the Indian dramaturgy and he described Indian drama as the fifth

Veda. Thus, he is often acknowledged as the father of Indian theatrical arts. Bharatas Natya Shastra

appears to be the first attempt to devise and contrive the technique or rather art of drama in a systematic

manner. The Natya Shastra advises the reader about not only what is to be portrayed in a drama, but also

how the portrayal is to be executed. Natya Shastra incredibly emotes a panoptic scope of everything dramatic.

It consists of minutely detailed precepts for both playwrights and the actors. The much renowned Bharata

describes ten types of drama, ranging from one to ten acts. In addition, history of drama also states that he

also had laid down principles for stage design, make-up, costume, dance, a theory of rasas and bhavas,

acting, directing and music in each of the individual chapters.

History of Indian drama elaborates majestically about Bharata setting out a detailed theory of drama, where

he referred to the Bhavas and the Rasas such as love, pity, anger, disgust, heroism, awe, terror and comedy,

that generally inspire the audience. The plays were also necessary to mXI and amalgamate various Rasas,

but however was to be dominated by only one. According to Natya Shastra, all the modes of expression

employed by an individual, which include speech, gestures, movements and intonation was mandatory to be

utilised. The ultimate representation of these expressions was supposed to have diverse and dissimilar modes

according to the predominance and emphasis on one mode or another. History of Indian drama, with all its

refinements, complexities, sophistications and sublimities, had comprehended Bharata Muni, who recognised

four main modes: speech and poetry (bharati vritti), dance and music (kaishiki vritti), action (arabhatti vritti)

and emotions (sattvatti vritti) for the success of a drama production. Mahakavi Bhasa is at times regarded

as the first playwright of ancient Sanskrit literature. He virtually had composed 13 plays, intelligently basing

his plays upon taking the story of Ramayana, Mahabharata, Puranas and the Lok Kathas. Mahakavi Kalidasa

had penned three dramas, namely, Malavikagnimitra, Vikramorvasiya and Abhijnanasakuntalam. Kalidasa

also whole-heartedly lent novel and innovative art, technique, bhava (emotional sentiment), costumes, thoughts,

methods and directions to the historical evolvement of Indian drama. Thus, he was triumphant to be honoured

as greatest poet and playwright ever to have arrived in Sanskrit literature.

Till the 15th century Sanskrit dramas were out-and-out performed on stage in Tamil Nadu, Kerala, Karnataka,

Andhra Pradesh, Uttar Pradesh and Gujarat. King Mitrak of Gujarats Vallabhi had given sufficient patronage

to Indian dramas and arts. History of Indian drama lends information about the gradual germination ofperformances during the time of the Gujarat king Siddharaj Bilhan. His Karnasundri was performed in Patan

during the celebration of the Naminath Yatra Mahotsav. In a likewise manner, Balchandras Drana Karuna

Vajra Yudhe was staged on Satrunjaya Hill near Palitana. The kings and the Jain faction and other religious

community had generously patronised these plays, but their performance were confined to religious festivals

and to the royal courts only, that too in the in the presence of kings and their nobleman and devotees. The

plays did not possess enough class diversification to reach the common mass.

Going by history of Indian drama and its significant contribution to the art history of India, one gets to be

enlightened that after the 15th century, Indian dramatic activity almost ceased due to foreign invasions on

India. However, the age had remained witness to the beginnings of Loknatya (peoples Theatre), whichwas noticed in every state of India from 17th century onwards. Several states innovated fresh and new



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styles of drama; in Bengal there were styles like Yatrakirtaniya, Paal, Gaan; in Madhya Pradesh Mach; in

Kashmir Bhandya Thar and in Gujarat the forms comprised Bhavai, Ramlila; in northern India there existed

the Nautanki, and Bhand, Ramlila and Raslila; in Maharashtra Tamasha; in Rajasthan Raas and Jhoomer;in Punjab Bhangra and Songe; while in Assam it was Ahiyanat and Ankinaat; in Bihar it was Videshiya.

The beginning and the rise of the modern history of Indian dramas was hidden within the 18th century

when the British Empire and its stretch consolidated its stable power in India. In 1765, there came up two

drama lovers, who had staged the legendary two English comedy plays by the names Disgaij and Love is

the Best Doctor. In 1831, Prasaankumar Thakur had laid the foundation stone for the Hindi Rangmanch.

In 1843, on the ardent request of the Sangli King, playwright Vishnudas Bhave had given birth to Seeta

Swayamwar in Marathi. With passing time, precisely in 1880, Annasaheb Kirloskar had staged Abhignan

Shakuntal in Marathi. However, in the western part of India, due utter the Portuguese domination, drama

groups from western countries began to arrive in India to stage English plays.

In 1850, modern theatrical activity originated in Bengal, Karnataka and Kerala also, adding further to the

history of Indian drama. Then, from 1858 onwards Gujarati and Urdu plays began to be staged in many

cities in Mumbai and Gujarat, chiefly in Ahmedabad, Surat, Baroda and Vadnagar. The Parsis started their

own drama company and made liberal usage of words from Hindustani, Urdu, Persian and Sanskrit, while

staging their plays. Their successful dramas were rendered quite legendary in the theatre halls of Karachi,

Calcutta and Bombay. At approximately the same time, theatrical activity also had begun in Karnataka and

Orissa. The Parsi plays, besides the language of the play, also devoted much attention to stage decor and

stage specialties. Thus, from the beginning in 1850 and reaching upto 1940, there could be witnessed a

resurgence of dramatic movement in different regions of India and there was significant development in

the genre of Indian drama and its historical flowering. This almost hundred years can rightly be stated as

the Golden Age of Indian theatre.

The period after Indian Independence in 1947, marks a significant second stage in the development and

history of modern Indian Drama. Prior to 1947, drama scripts were pivoted around Sanskrit plays, English

plays and ancient religious-historical epics, deriving much influence from ancientness in the play-acting

scenario. They related themselves to the social problems as well as the ideology of the Indian freedom

movement; making it an exceedingly powerful medium and tool, intended to make an impact on the life of

the common man.

The second stages of modern Indian drama post 1947, had made an endeavour to divide dramas into two

parts, comprising Professional Theatre and Non-Professional Theatre. The Non-Professional Theatre groups

were established and took shape by co-operative theatrical societies, where their subjects were inspired by

western plays. The Indian theatre groups, including the theatre craftsmen and artists, then travelled to foreign

countries to acquire knowledge of stagecraft and other detailed artistries. The present day drama in the

contemporaneous scenario also has been amassed within the history of Indian drama, as each day comes

with an evolutionary cycle towards the better. Performances are, now-a-days enriched by itself, with the

help of modern techniques of stage screens, sets, scenery, lighting and sound effects and the same also has

been chalked out to be continued, till date and advanced date.


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History of Indian Drama