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Performing Artistes in
Ancient India
To discern these distinct strands one has to hear the simultaneous chant of all the four Vedas. Pitched high and resonating with contemplation and wonder, the Rigvedic incantations conjure and scan the unknown vistas of the skies for the unfathomed divine. The joyous celebrations of the Samaveda chants are celebratory and given to musical ecstasy. While the Yajurveda chants are authoritative and instructive in tone and tenor, the Atharvaveda chants are evocative, magical and rooted in earthly aspirations, rites and practices. Dr Iravati traces in her book, Performing Artistes in Ancient India, the contribution of the performing artistes towards evolving the rudimentary elements of recitation, music, impersonation and emotions into a highly comprehensive discipline of Indian theatre up to 700AD. From the ritualistic origins, Vedic and pre—Vedic, are traced the element of narrations as found in the epic recitations. The Gathas related themselves to the battles fought and won by the sacrificer. The Sutas and the Magadhas served as royal heralds and bards, elucidating on the nexus between the Brahmanical class and the Khastriyas. Natya as evolving from minor forms of entertainment ranged from miming to puppetry, acrobatics to buffoonery and from ritualistic enactments to audio-visual narrations and presentations. Thus Bharata, as a chief architect of Natyashastra, concluded that there was no such knowledge, craft, art, yoga or karma that did not contribute to the art of drama. The book unfolds the systematic institutionalisation of theatre as a discipline and how deeply entrenched was the activity in the socio-cultural fabric of the Indian society. The chapter on the contribution of female actresses to drama provides insights into their exclusive role and status especially with reference to fertility cults, the supportive role of female artistes as wives of actors and the existence of fairly advanced professional guilds of female artistes. The professional status of the female artistes is dated as early as the epics. The female artistes specialised in various categories, ranging from pure entertainment — strip tease included — to organised affiliations with a temple or religious sect to being professional artistes in the Royal harem. Of interest is the mention of natakiya, the entertainer of the palace, whose job other than entertainment was to spy for the state. The courtesan as the ganika was accomplished in the 64 arts. When temple worship replaced the Vedic sacrifices, the devadasis filled in for the permanent religious requirements for regular worship. Given the paucity of information on dance costumes, the representations and descriptions of the costumes worn by the dancers would be valued by those interested in the area. The form and social content of theatre emerges clearly with the description of the role implied for each of the members of the troupe, the composition of the troupes being surprisingly contemporary in its structure and division of work and responsibilities. In addition, the origin and use of traditional theatre space and sets are elaborately discussed, making the book a must for students and practitioners of theatre. Extensively researched, the book catalogues immense information. Given the environment and advancement of the multi-disciplinary and audio-visual culture, the merchandising of well-researched books, particularly related to the visual arts, today require a contemporary, if not a glamorous, linkage and veneer to ensure that their utility goes beyond the shelf. |
IN absence of the Vedas
for certain sections of the society, Brahma created the fifth Veda-
the Natyaveda. Combining recitation from Rigveda, songs
from the Samaveda, histrionic expression from the Yajurveda
and sentiments from the Atharvaveda, the responsibility of
creating itihas was vested with sage Bharata.