Svapna-Vasavadattam, A Drama Of Six Acts Composed By Bhasa, Is Based On The Brihatakatha Of Gunadhya And Is Referred To In The Mahabharata. Bhasa Stands Preeminent For The Boldness Of His Conception, Insight Into Character And For Hs Homely Sparking Style. He Has Written About Thirteen Plays Of Which The Svapna-Vasavadatta Is Reckoned As A Masterpiece Both In Ancient Indian And Modern Criticism. Based On The Well-Known Love-Tale Of Udayana And Vasavadatta, Bhasa S Play Abounds In Dramatic Excitement, Suspense, Surprise And Humour.
This work offers a comparative cross-cultural history of dreams. The authors examine a range of texts concerning dreams, from a variety of religious contexts (including China, the Americas and Greek and Roman antiquity) to explore the ways in which different cultures experience the world of dreams.
This translation is of thirteen Sanskrit plays discovered in South India by the late Pandit Ganapati Sastri and edited by him in the Trivandrum Sanskrit Series. It comprises the following titles: 1. Pratijnayaugandharayana, 2. Svapnavasavadatta, 3. Carudatta, 4. Pancaratra, 5. Madhyamavyayoga, 6.Pratima-nataka, 7.Dutavakya, 8.Dutaghatotkaca, 9.Karnabhara, 10.Urubhanga, 11.Avimaraka, 12.Balacarita, and 13.Abhiseka. Sastri attributed all the thirteen plays to Bhasa and the prevailing opinion of the scholars is in agreement with him, though the available evidence is not conclusive and so the question still remains open. The translation was done by two eminent Sanskrit scholars. It was published s early as 1930 and a reprint is now issued in view of a persistent demand of scholars. Pandit Ganapati Sastri attributed all thirteen plays to Bhasa, a famous dramatist earlier than Kalidasa. Some verses are ascribed to Bhasa by medieval anthologies, but only ten with unanimity. We are told that he composed a Svapnavasavadattam (his best play) and that in another play the device of the wooden elephant was used. Characteristic features of his work are described by Bana, and other poets evidently held him in high estimation. One or two verses from his plays are quoted by writers on poetics. Otherwise, the text of BhasaÍs numerous plays had completely disappeared. The learned editor of the Trivandrum plays found that they contained a Svapnavasavadattam (the best play in the collection), and, in the Pratijna-Yaugandharayanam, a scene dealing with the wooden elephant. He noticed also certain peculiarities in the technique of the plays which he regarded as signs of antiquity. All these points confirmed the opinion that Bhasa was the author.
Professor Lal has provided an introduction on the history and aesthetic theory of Sanskrit drama, individual prefaces for each play, a phonetic guide to the pronunciation of the Indian names, and a selective bibliography.
It is multi-volume series work. The main pupose of this work is literary criticism, evaluating a great tradition of literature and to present comprehensive study of sanskrit literature. So far 6 volumes have been published. Each volume presents literature itself in successive periods of its development. This second volume in the series on Kavya Literature begins the description of the literature itself. The most original feature of the present study, as compared with other books in English on Indian literature, is that the literature is presented and discussed from the point of view of the Indian tradition itself. The author has first presented the literature from within the Indian tradition, then he has given discussions on the kavyas presented, from the old Indian critics, finally crooss-references are inserted in square brackets to the relevant paragraphs of Volume I. The discussions of the old critics become more frequent and intensive in the later chapters of this volume (especially Chapter XVI), reflecting their tastes and the gradual establishment of classical standards.Among the classics discussed in this volume are the Ramayana, the great novel Brhatkatha of Gunadhya, the epics of Asvaghosa, the lyric anthology of Satavahana and the plays of Bhasa.
This book is a critique of western systematic theology. It borrows insights from India and other traditions; it is not a synthesis of religious traditions. The book includes two parts, method and systematics. It examines the traditional topics of systematic theology '- topics such as the existence and nature of God, revelation and reason, religious ethics and human practice, the relation of God to the world, Christology, and eschatology - and allows these topics to grow in conversation with India and to change according to dialogical insights. The book is prompted by a perceived need to cross the boundaries between western and Indian worldviews in a systematic and comprehensive way. The purpose of the book is to enable scholars worldwide to extend their theological resources and to look anew at the problems and prospects of a comparative, systematic theology.
This collection of Buddhist tales tell of Amrapali, an accomplished dancer who commanded the love and admiration of an entire town, and of Upagupta, who was just a poor monk. Amrapali craved peace; Upagupta’s bearing exuded contentment. Amrapali depended on the adulation of her audience; Upagupta spurned the attentions of the rich and famous. Their stories were different, but the Buddha’s wise teachings linked their lives – and the lessons to be learned from them.
This book explores the training methods, performance and aesthetics of Kudiyattam, the oldest existing theatre from in the world. It brings together for the first time a comprehensive analysis of the psycho-physical techniques employed by the actors in Kerala of this temple theatre form. The book offers an in-depth analysis of pakarnnattam, a unique acting technique that helps the actor to perform multiple characters in a single dramatic situation. This multiple transformational acting technique is highly relevant to enhance the actor’s abilities such as imagination, spontaneity and improvisation. The book employs a range of theoretical models developed from performance studies, gender theories, consciousness studies, Indian aesthetic and philosophical theories to investigate the actor’s body in training and performance. Most significantly, for the first time, the book offers some extra-ordinary insights into the links between the actor’s breathing and consciousness. It covers a range of topics: Hatha Yoga breathing techniques, eye training, hand gestures, movement techniques, voice training and rasa acting.
The book is a compilation of different erudite articles already published by the author in various scholarly journals and other edited volumes. The essays are a study and an enquiry into a variety of dramaturgical methods and processes that contribute to the theatrical dynamics of the Shakespeare plays. All the articles are concerned with the art of playmaking, with an examination of the tools and devices used by Shakespeare which contribute to the dramatic life of the play but also articulate the moral and sociocultural ideas of the time. There has not been much critical work in this area before and the book is one of the first of its kind. The book unravels the function and effect of many poetic, rhetorical, topological, visual and theatrical devices which Shakespeare exploits in his plays for a dramatic effect. Together, the essays present an idea of the multidimensional totality of theatre language and communication which Shakespeare achieves through a masterful orchestration of dramatic resources. The book will be of immense value to students, scholars and researchers in the fields of theatre techniques and art, literature in general and drama in particular.
An invaluable encyclopedia of Hinduism Hinduism is one of the world’s oldest religions; an amalgam of diverse beliefs and schools, it originates in the Vedas and is rooted in Indian culture. Hinduism: An Alphabetical Guide illuminates complex philosophical concepts through lucid definitions, a historical perspective and incisive analyses. It examines various aspects of Hinduism, covering festivals and rituals, gods and goddesses, philosophers, memorials, aesthetics, and sacred plants and animals. The author also explores pivotal ideas, including moksha, karma, dharma and samsara, and details the diverse commentaries on the Bhagavad Gita and other important texts. Citing extensively from the regional languages, the book describes Hinduism’s innumerable myths and legends, and looks at the many versions of texts including the Ramayana and Mahabharata, placing each entry in its historical context and tracing its evolution to the present. • Outlines all eighteen major Puranas, the 108 Upanishads, and a selection of Vaishnava, Sahiva and Tantric texts • Provides quotations from rare original texts • A product of years of research, with a wide range of entries
