नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

.V. 24] THE PRELIMINARIES OF A PLAY 79

The Saṁghoṭanā

20. The Saṁghoṭanā¹ is meant for rehearsing the use of different hand poses [for indicating the time-beat].

The Mārgāsārita

The playing together [in harmony with one another] of drums and stringed instruments is called the Mārgāsārita².

The Āsārita

21. The Āsārita is meant for practising the beat of time-fractions.(kalāpāta)¹.

The Application of songs

And the Application of songs (gītavidhi)² is for singing the glory of gods.

The Utthāpana

22-23. I shall now speak about the Utthāpana (lit. raising) ceremony which is so styled because from this, the reciters of the Benediction start (lit. raise) first of all in the stage the performance [of the play]. Hence the Utthāpana is considered by some to be the beginning [of the performance].

The Walking-round

23-24. The Walking-round (parivartana) is so styled because in it, the guardian deities of different worlds are praised [by the Directer] walking all over [the stage].

The Benediction

24-25. The Benediction (nāndī)¹ is so called because it must always include [and invoke ) the blessing of gods, Brahmins and kings.

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20 (B.G. same). ¹ saṁghoṭanā—For the performance of this see NŚ. (C.) XXIX. 137-141.
² mārgāsārita—For the performance of this see NŚ. (C.) XXIX. 145-116.
21 (B.G. same). āsārita—For the performance of this see NŚ. (C.). XXXI. 59-75. 169-194. ² See NŚ. (C.). XXX. 267 ff.
22-23 (B.22-23a, G. 21c-22).
23-24 (B.23b-24a, G.23). ¹ parivartana=parivarta see below 65 ff.
24-25 (B 24b-25a, G.24). ¹ For its specimens see below 107 ff.