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E-book Theatre and Its Other : Abhinavagupta on Dance and Dramatic Acting
While a larger history of medieval Indian theatre, comprehensively accounting for its different literary, theoretical, and performative strands, still needs to be written, the ambition of the present study is to explore the emergence of an original debate on the nature of dance and dramatic acting in the Abhinavabh?rat?, Abhinavagupta’s eleventh-century commentary on Bharata’s N??ya??stra. We have nowadays gotten used to thinking and talking about traditional forms of performance in India as ‘dance theatre’, and to differentiating them in terms of styles, such as Bharatanatyam, Odissi, Kathakali, Kutiyattam, etc. To distinguish them further, these styles are sometimes linked with geographical labels, such as the ‘dance of Tamil Nadu’, ‘dance of Orissa’, ‘Kerala dance drama’, ‘Kerala Sanskrit theatre’, etc. This situation reflects artistic developments that can be observed in living traditions of performance today, and can be sometimes traced in premodern texts. It is rare, in India, to attend a theatrical performance that is devoid of on-stage musical accompaniment, or abstract forms of dance movement that are not combined with narrative gestures. The common denominator of such a variegated performance landscape is the combination of hand gestures, facial mimicry, and body movements, aimed at enacting a text that is either recited by the performer or rendered by a vocalist on stage, rhythmically marked by live instrumental music and enhanced with exuberant costumes. To describe these forms of spectacle, the Sanskrit language comes to our aid by adding, to the two terms consecrated for theatre and dance—n??ya and n?tta—a third term, n?tya, that covers the grey area between the two.
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