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T6667-Natyashastra-An Indian Perspective of Performing Art

The document outlines a course titled 'Natyashastra: An Indian Perspective of Performing Art' designed for undergraduate and postgraduate students, focusing on the ancient text Natyashastra and its relevance to performing arts. The course aims to teach theoretical and practical aspects of Natyashastra, including dance techniques, stage production, and the aesthetics of Indian classical dance, particularly Bharatanatyam. It emphasizes the importance of understanding the historical context and components of Natyashastra to appreciate and perform Indian theatre and dance effectively.

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29 views5 pages

T6667-Natyashastra-An Indian Perspective of Performing Art

The document outlines a course titled 'Natyashastra: An Indian Perspective of Performing Art' designed for undergraduate and postgraduate students, focusing on the ancient text Natyashastra and its relevance to performing arts. The course aims to teach theoretical and practical aspects of Natyashastra, including dance techniques, stage production, and the aesthetics of Indian classical dance, particularly Bharatanatyam. It emphasizes the importance of understanding the historical context and components of Natyashastra to appreciate and perform Indian theatre and dance effectively.

Uploaded by

mrrohitroy879
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as DOCX, PDF, TXT or read online on Scribd
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(Established under section 3 of the UGC Act 1956, by notification No.F.

9-
12/2001-U3 Government of India)
Accredited by NAAC with ‘A’ Grade
Founder: Prof. Dr. S. B. Mujumdar, M.Sc.,Ph.D. (Awarded Padma Bhushan and Padma Shri
by President of India)
___________________________________________________________________________
Faculty of Humanities and Social Sciences

Sub Committee of Performing Arts - Specialization for Curriculum Development

Post Graduate/ Under Graduate

Course Title: Course Code: Natyashastra: An Indian Perspective of Performing Art

Number of Credits: 4

Level: 2

Introduction:

Natyashastra, composed by sage Bharata, is an ancient Sanskrit text is said to have been
derived by putting together all that was best of the four Vedas namely: Rigveda, Yajurveda,
Samaveda, Atharvaveda. It delineates a sophisticated and stylish technique of performing arts.
While Bhava, Rasa, Raga, Tala constitutes the basic essentials of Natyashastra, it also covers the
aspects of drama, dance aesthetics, stage design, abhinaya, makeup, mathematical and rhythmic
footsteps, eye movement, arm movement, music and audience. Indian theatre/performance
techniques have evolved from Natyashastra.

The course seeks to introduce different elements of Natyashastra to students and


provide practical instruction to help them perform stage productions. Students will be able to
appreciate the nuances of drama and dance through Bharatanatyam. Knowledge of the rules of
“Natya” or drama will enhance students’ ability to appreciate structural designs of performing
arts. The course seeks to spread awareness amongst the young generation about an ancient
treatise of Natyashastra, which helps connect the body and mind.
Learning Objective:

The course will help students to

 Discuss the theory and practical skills of Natyashastra. .


 Extend even learning craft of a coordination/Stage production
 Infer the foot, eye and hand movements when dancing
 Identify all mudras, bedas and karnas
 Estimate the aesthetics of Navarasas and Abhinaya
 Recognize the science of performing arts through Natyashastra and develop
appreciation for Bharatanatyam in the context of a wider dance world

Learning Outcome (s):

Students will learn:

 the theoretical aspects of Natyashastra


 to perform practical skills explained in the Natyashastra
 To develop, improvise and construct the various aspects of stage production
 To coordinate the foot, eye and hand movements through dance
 To perform dance drama through Bharatanatyam with various Mudras, Bedas, Karnas
Abhinaya and Navarasas

Pre-learning / Pre-requisite: None

Course Outline

Sr. No. Topic Hours


An introduction to the timeline and four Vedas:
 Rigveda
1  Yajurveda 2
 Samaveda
 Atharvaveda
What is Natyashastra:
 Introduction
2  History 4
 Origin
3 Brief Discussion on different elements of Natyashastra: 6
 Theatre/ auditorium
 Prayer
 Stage design
 Makeup
 Dance Techniques
 Abhinaya, Bhava and Rasa
 Music
 Instruments
Role and Significance of Indian Classical Dance in Natyashastra with a
4 focus on Bharatanatyam 2

“Natyotpatti” – Evolution of Dance


5  Tandava 4
 Laasya

Components of Natyashastra with respect to Dance drama


 Abhinaya
6  Bhava 4
 Rasa
Abhinaya:
1. Introduction
2. Different kinds of Abhinaya
a. Angika
 Foot movement
 Hastas (Samyukta, Asamyukta, dashavatara, Devata)
7  Drishti beda (Eye Movement) 6
 Shiro Beda (Head movement)
 Greeva Beda (Neck Movement)
b. Vaachika
c. Aharya
d. Saatvika
Bhava (2nd Element of Natyashastra)
 What is Bhava
8  Sthayi Bhava (Principal Emotions) 6
 Vyabhichari/ Sanchari Bhava (Transient Emotions)
 Saatvika Bhava (Involuntary Emotions)
Aesthetics of Dance “Rasa”
9  What is Rasa? 6
 Navarasas

Music and Instruments Used in Natyashastra


10 4
Practical teaching of a dance drama item based on the rule of
11 Natyashastra 16

Total 60
Pedagogy:
1. Interactive class discussions on all concepts and theories through the medium of
Bharatanatyam as it is practiced today, complemented by appropriate background
knowledge and understanding of the art.
2. Interpret the literary and technical aspect of dance drama through Bharatanatyam
3. Use of video clips, short movies, articles, newspapers etc. to enable practical
understanding of the concepts
4. Practical demonstration of theories on various aspects of Natyashastra
5. Evaluations conducted throughout the semester

Books Recommended:

Adya Rangacharya, Introduction to Bharata’s Natyashastra (Munshirm Manoharlal Pub


Pvt Ltd., 2005 reprint)

C Venugopalan Nair, Mudras in Bharatanatyam (New Bharatiya Book Corporation,


2011).

Susan L Scwartz, Rasa: Performing the Divine in India (Columbia University Press, 2004).

N P Unni, Natyashastra (Text with Introduction, English Translation and Indices)(NBBC


publishers and distributors, 2014)

Suggested Assessment/ Evaluation Methods:

As per SIU Rules on Pg. no. 20 – 5.1 e) III.

Benchmarked against similar courses in other national/ international universities


/organizations

S. Name of the Course Name of University where it is


No. offered

1 Classical Indian Drama and Aesthetics NSD (National School of Drama)

2. Indian Communication Theories Indian Institute of Mass


communication, New Delhi

Justification for a new course:

The course helps students to gain information and an analytical approach to the study of
Natyashastra which is one of the most important and comprehensive text in performing arts.
It gives comprehensive analysis of the development of dance, theatre, aesthetics, drama and
music in the present context. Through this course students will get a comprehensive overview
of the development of dance and theatre. While a few relating to music and theatre are being
offered at SSLA, the Natyashastra course will give them an idea about the Indian models of
performing arts.

Name of Dr. Vasudev Apoorva Shashikala


Members Menon Tholia Gundlupet

Visiting Visiting Visiting


Designation
Faculty Faculty Faculty

Org. / Inst. Free Lance Free Lance Free Lance

Signature

Name of
Experts

Designation

Org. / Inst.

Signature

Signature of Dean:

Date:

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