Bharatha Muni

7/27/2019 Bharatha Muni

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BHARATHA MUNPRESENTED BY

M.MONICA FLO

BBC 2ND YEAR


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BIOGRAPHY:SAGE BHARATA is the father of I ndian theatrica

and musicologist who authored the Natya Shastra

I ndian drama, dance and music find their root in

the Natyashastra.

He was born in Kashmir between 200B.C and 400but some histor ians place him between 1000 and

500B.C.

According to some critics he was a follower of Ka

shaivism


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He is also said to have collected all the mater ial o

acharyas (ancient teachers) l ike Tumburu, Naradand gave the Natyashastra a complete coherence

additions, alterations and adaptations.

There was qui te a large number of commentar ies

Nayashastra of Bharata.

But all of them are unfortunately lost, except the

Bharata of Abhinavagupta.

Besides Abhinavagupta, there are only three com


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The earl iest commentator of the Natyashastr

who gives the theory of the aropevada (attr ib

Shankuka happens to be the second commen

Bharata.

The thi rd commentator of Bharat is Acharya

Bhattanayayaka who gave the theory of bhuk(theory of taste) based on sadharanikarana

(generalization).


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The next renowned exegete of Bharata is Abh

of roughly later half of the 10th and fi rst half

C.E.

H is concept of rasa has a profoundly philoso

H is concept of atmaprakasha (self-consciousexpansion of Shaiva phi losophy in which Par

equated with atma (soul ) equipped with praka

The other comentators were bhattanayaka, R

BhattaTauta , Kir tidhara, Vamadeva, Matrigu


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NATYASHASTRA:The Nayashastra known as

Natyaveda or the f if th Veda, is a

classical manual on the theory and

practice of I ndian aesthetic theatre,

music, dance, poetics, gestures and

many other all ied arts given by Bharata

Muni.

The Nayashastra pr imari ly aims

at giving the necessary directions to actors.


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I t also aims at helping the aesthete,

who is eager to enjoy the beautiful

and afraid of the study of the Vedas

and Puranas, which show the ways

of realization of the main objectives

of human li fe.


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DATE OF COMPOSITION:

As far as the date of this work is concerned, therviews based on religious bel ief and linguistic ana

references to decide the date of this work.

According created by Brahma, in compliance wi

request of the gods to the religious view.


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I t is also bel ieved that

Brahma took the element of

song from the Samaveda, the

tandava (vigorous dance) f romShiva, the lashya (grace)f rom

Parvati and compiled the

Nayashastra.

As regards the view based

on linguistic analysis The

scholarly opinion varies

placing it anywhere from 2nd

century B.C.E. to 2n


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DIVISION OF NATYASHASTRA:

Based on the manuscript of the Abhinavabhacommentary of Abhinavagupta (11th century

divided into thir ty-six chapters.

I n general,there are eleven topics that are co

Natyasastra. Theyare:Rasa(sentiments),Bhava(emotions),Abh, Dharmi(practices of performance),Vri tti (sty

(regional styles),Siddhi (achievement),Swara

notes),Atodya (instrumental music),Gana

(singing)&Ranga (stage)


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The rasas are nine, bhavas are 49 ,abhinaya

types, the practices are two, four are the styles

siddhi-2, swara-7, atodya-4, gana-5 types, ran

three.

There are nine types of rasa:-adbhuta, karun

veera, sr ingara, hasya, bhayanaka, bhibatsa a


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Four kinds of abhinayas (acting/

expression)angika abhinaya

(bodil y expression), vacikaabhinaya (l inguistic expression,

aharya abhinaya (costumes of the

characters and stage decoration),

sattvika abhinaya (voluntarychanges expressed by the presence

of tears, mark of horr ipi lation, change

of facial color, trembling of l ips, enhancing of nos

express the deepest emotions of a character.


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Two kinds of dharmis

(theatr ical representations)

lokadharmi

(artistic representation

of the ordinary world or

the real l i fe) andnatyadharmi (artistic

representation of the

imaginary worlds l ike

svarga (heavens).


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Four kinds of vri ttis (modes of productions)bharati (dominance of spoken contents) kaish(dominance of dance and music) sattvati(dominance of elevated and heroic feelings) aarabhati (dominance of violent and conf l ictua

actions) The four pravr ittisavanti , dakshinatya,panchali and magadhi (the tastes of audienin var ious parts of I ndia)


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Four kinds of atodyas (musical instruments us

stage); ganam or dhruvas (songs sung in the co

dramatic action at f ive juncturespraveshiki (before the entry of a character), naishkramiki (

sooth emotions of the audience after a very mov

shocking scene), akshepiki (song sung to create

intervention) and antara (song sung in between

enter tain the audience)


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The primary purpose of this work is a blissfulmental state.

Bharata thus proclaims:This natya wil l be the

cause of bliss to all those poor beings who are

aff l icted by diff icul ties,hardships and sorrows


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Bharatha Muni

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