Natyashastra
Progress:6.4%
क्ष्वेडितैः स्फोटितैश्चैव वल्गितैश्च प्रधावितैः । रङ्गमध्ये तु तां दीप्तां सशब्दां सम्प्रयोजयेत् ॥ ९१॥
With the flickering, cracking, and vibrating lights, the drama teacher should place the lamp, which is glowing and making sound, in the center of the stage.
english translation
शङ्खदुन्दुभिनिर्घोषैर्मृदङ्गपणवैस्तथा । सर्वातोद्यैः प्रणदितै रङ्गे युद्धानि कारयेत् ॥ ९२॥
With the sound of conchs, drums, and cymbals, and from all directions, with the loud blasts of instruments, the stage should be made to resonate, and battles should be enacted.
english translation
तत्र च्छिन्नं व भिन्नं च दारितं च सशोणितम् । क्षतं प्रदीप्तमायस्तं निमित्तं सिद्धिलक्षणम् ॥ ९३॥
There, the scene should depict the broken, torn, and bloodied figures, wounded and burned, showing the signs of the cause for achieving success.
english translation
सम्यगिष्टस्तु रङ्गो वै स्वामिनः शुभमावहेत् । पुरस्याबालवृद्धस्य तथा जानपदस्य च ॥ ९४॥
When the performance is properly conducted, it will bring auspicious results for the master, the city, the young and the old, and the entire realm.
english translation
दुरिष्टस्तु तथा रङ्गो दैवतैर्दुरधिष्ठितः । नाट्यविध्वसनं कुर्यान्नृपस्य च तथाऽशुभम् ॥ ९५॥
But when the performance is ill-conducted, influenced by malevolent deities, it causes the destruction of the drama and brings inauspicious results for the king.
english translation
1.
अध्याय १
Origin Of Drama
2.
अध्याय २
Description Of The Playhouse
अध्याय ३
Pūjā To The Gods Of The Stage
4.
अध्याय ४
Description Of The Class Dance
5.
अध्याय ५
Preliminaries Of A Play
6.
अध्याय ६
Sentiments (rasa)
7.
अध्याय ७
Emotional And Other States (bhāva)
8.
अध्याय ८
Gestures Of Minor Limbs (upāṅga)
9.
अध्याय ९
Gestures Of Major Limbs (aṅga)
10.
अध्याय १०
Cari Movements
11.
अध्याय ११
Maṇḍala Movements
12.
अध्याय १२
Different Gaits (gati)
13.
अध्याय १३
Different Gaits (gati)
14.
अध्याय १४
Zones (kakṣyā) And Local Usages (pravṛtti)
15.
अध्याय १५
Verbal Representation (vācika) And Prosody (chandaḥśāstra)
16.
अध्याय १६
Metrical Patterns (chandas)
17.
अध्याय १७
Diction Of A Play (lakṣaṇa)
18.
अध्याय १८
Rules On The Use Of Languages (bhāṣā)
19.
अध्याय १९
Modes Of Address (nāman) And Intonation (kāku)
20.
अध्याय २०
Ten Kinds Of Play (daśarūpa)
21.
अध्याय २१
Limbs Of Segments (sandhi)
22.
अध्याय २२
Styles (vṛtti)
23.
अध्याय २३
Costumes And Make-up (nepathya)
24.
अध्याय २४
Harmonious Representation (sāmānyābhinaya)
25.
अध्याय २५
Dealings With Courtezans (veśyā)
26.
अध्याय २६
Varied Representation (citrābhinaya)
27.
अध्याय २७
Success In Dramatic Production (siddhi)
28.
अध्याय २८
On The Instrumental Music (ātodya)
29.
अध्याय २९
On Stringed Instruments (tata)
30.
अध्याय ३०
On Hollow Instruments (suṣira)
31.
अध्यायः ३१
On The Time-measure (tāla)
32.
अध्यायः ३२
The Dhruvā Songs
33.
अध्यायः ३३
On Covered Instruments (avanaddha)
34.
अध्याय ३४
Types Of Characters (prakṛti)
35.
अध्याय ३५
Distribution Of Roles (bhūmikā)
36.
अध्याय ३६
Descent Of Drama On The Earth
37.
अध्याय ३७
Adhyaya 37
Progress:6.4%
क्ष्वेडितैः स्फोटितैश्चैव वल्गितैश्च प्रधावितैः । रङ्गमध्ये तु तां दीप्तां सशब्दां सम्प्रयोजयेत् ॥ ९१॥
With the flickering, cracking, and vibrating lights, the drama teacher should place the lamp, which is glowing and making sound, in the center of the stage.
english translation
शङ्खदुन्दुभिनिर्घोषैर्मृदङ्गपणवैस्तथा । सर्वातोद्यैः प्रणदितै रङ्गे युद्धानि कारयेत् ॥ ९२॥
With the sound of conchs, drums, and cymbals, and from all directions, with the loud blasts of instruments, the stage should be made to resonate, and battles should be enacted.
english translation
तत्र च्छिन्नं व भिन्नं च दारितं च सशोणितम् । क्षतं प्रदीप्तमायस्तं निमित्तं सिद्धिलक्षणम् ॥ ९३॥
There, the scene should depict the broken, torn, and bloodied figures, wounded and burned, showing the signs of the cause for achieving success.
english translation
सम्यगिष्टस्तु रङ्गो वै स्वामिनः शुभमावहेत् । पुरस्याबालवृद्धस्य तथा जानपदस्य च ॥ ९४॥
When the performance is properly conducted, it will bring auspicious results for the master, the city, the young and the old, and the entire realm.
english translation
दुरिष्टस्तु तथा रङ्गो दैवतैर्दुरधिष्ठितः । नाट्यविध्वसनं कुर्यान्नृपस्य च तथाऽशुभम् ॥ ९५॥
But when the performance is ill-conducted, influenced by malevolent deities, it causes the destruction of the drama and brings inauspicious results for the king.
english translation