Performance Art Theory
The Natya Shastra ranges widely in scope, from issues of literary construction, to the structure of the stage or mandapa, to a detailed analysis of musical scales and movements (murchhanas), to an analysis of dance forms that considers several categories of body movements, and their impacts on the viewer.
Bharata describes 15 types of drama ranging from one to ten acts. The principles for stage design are laid down in some detail. Individual chapters deal with aspects such as makeup, costume, acting, directing, etc. A large section deals with meanings conveyed by the performance (bhavas) get particular emphasis, leading to a broad theory of aesthetics (rasas).
Four kinds of abhinaya (acting, or histrionics) are described – that by body part motions (angika), that by speech (vAchika), that by costumes and makeup (AhArya), and the highest mode, by means of internal emotions, expressed through minute movements of the lips, eyebrows, ear, etc. (sAttvika).
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Famous quotes containing the words performance, art and/or theory:
“The audience is the most revered member of the theater. Without an audience there is no theater. Every technique learned by the actor, every curtain, every flat on the stage, every careful analysis by the director, every coordinated scene, is for the enjoyment of the audience. They are our guests, our evaluators, and the last spoke in the wheel which can then begin to roll. They make the performance meaningful.”
—Viola Spolin (b. 1911)
“Blind mouths! that scarce themselves know how to hold
A sheephook, or have learn’d ought else the least
That to the faithful herdman’s art belongs!
What recks it them? What need they? They are sped.
And when they list their lean and flashy songs
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The hungry sheep look up, and are not fed,”
—John Milton (1608–1674)
“There is in him, hidden deep-down, a great instinctive artist, and hence the makings of an aristocrat. In his muddled way, held back by the manacles of his race and time, and his steps made uncertain by a guiding theory which too often eludes his own comprehension, he yet manages to produce works of unquestionable beauty and authority, and to interpret life in a manner that is poignant and illuminating.”
—H.L. (Henry Lewis)