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).
Read more about this topic: Natya Shastra
Famous quotes containing the words performance, art and/or theory:
“Having an identity at work separate from an identity at home means that the work role can help absorb some of the emotional shock of domestic distress. Even a mediocre performance at the office can help a person repair self-esteem damaged in domestic battles.”
—Faye J. Crosby (20th century)
“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
Grate on their scrannel pipes of wretched straw,
The hungry sheep look up, and are not fed,”
—John Milton (1608–1674)
“The theory of the Communists may be summed up in the single sentence: Abolition of private property.”
—Karl Marx (1818–1883)