नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

LVIII

yards broad has been prescribed for them. 'This should be divided into three parts : (i) the tiring room (nepathya) (ii) the stage (raṅgapīṭha or raṅgaśīrṣa) and (iii) the auditorium (raṅgamaṇḍala). Of these the tiringroom would be at one end of the theatre and would measure sixteen yards by four yards. On the two sides of the stage there should be two Mattavāraṇīs each occupying an area of four yards by four yards and having four pillars. Thus the area to be occupied by the seats of spectators would be twentyfour yards by sixteen yards.

The tiring room (nepathya) was the place in which the actors and the actresses put on the costumes suited to the different roles, and from this place, the tumults, divine voices (daiva-vāṇī) and similar other acts proceeded. This part of the theatre was separated from the stage by two screens over its two doors, Between these two doors the members of the orchestra (kutapa) were to sit and the direction facing them was to be considered conventionally the east.

4. The Representation

To understand the technique of representation of the Hindu drama one must remember that it avoided stark realism and gave utmost scope to imagination and fancy. The one unmistakable evidence of this is the total absence of any painted scenery from the stage. This is but a negative side of it. If the Hindus avoided bringing in any kind of artificial scenery, they made positive efforts in communicating the meaning of the drama and calling forth the Sentiment (rasa) in the spectators through suggestive use of colour in the costume and make up of the actors and rhythmic movements of many kinds which have been summed up in their theory of four representations (abhinaya) such as aṅgika, vācika, āhārya, and sāttvika (VI.23).

(a) The Physical Representation

Among these, the āṅgika should be discussed first. This consists of the use of various gestures and postures of which the Nāṭyaśāstra gives elaborate descriptions. Different limbs have been named and their manifold gestures and movements described, with various significance attached to each one of them (VIII.-XII). For example, the head has thirteen different gestures which are as follows :

Ākampita : Moving the head slowly up and down.

Kampita : when the movements in the Ākampita head are quick and copious. (Uses) : The Ākampita head is to be applied in giving a hint, teaching questioning, addressing in an ordinary way (lit. naturally), and giving an order.

The Kampita head is applicable (lit. desired) in anger argument understanding, asserting, threatening, sickness and intolerence.

Dhuta and Vidhuta : A slow movement of the head is called the