1.
अध्याय १
Origin of Drama
2.
अध्याय २
Description of the Playhouse
3.
अध्याय ३
Pūjā to the Gods of the Stage
4.
अध्याय ४
Description of the Class Dance
•
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
(वितण्डां गण्डसंयुक्तां तालिकाञ्च प्रयोजयेत् । कस्तिष्ठति जितं केनेत्यादिकाव्यप्ररूपिणीम् ॥ पारिपार्श्वकसञ्जल्पो विदूषकविरूपितः । स्थापितः सूत्रधारेण त्रिगतं सम्प्रयुज्यते ॥) प्ररोचना च कर्तव्या सिद्धेनोपनिमत्रणम् । रङ्गसिद्धौ पुनः कार्यं काव्यवस्तुनिरूपणम् ॥ १३५॥
The Vitandā, Gandha-samyuktā, Tālika, and the Kāvyaprarūpiṇī, beginning with phrases like 'Who stands? Who is victorious?' are elements to be employed in the Trigata. The dialogue of the attendants (Pāripārśvika-saṃjalpa), distorted by the Vidūṣaka and established by the Sūtradhāra, should also be incorporated. The Prarocanā (prelude) should then be performed, accompanied by an invitation to the Siddha (perfected beings). After the stage is deemed ready, the description and presentation of the subject matter of the poem should be revisited and elaborated upon.
english translation
(vitaNDAM gaNDasaMyuktAM tAlikAJca prayojayet | kastiSThati jitaM kenetyAdikAvyaprarUpiNIm || pAripArzvakasaJjalpo vidUSakavirUpitaH | sthApitaH sUtradhAreNa trigataM samprayujyate ||) prarocanA ca kartavyA siddhenopanimatraNam | raGgasiddhau punaH kAryaM kAvyavastunirUpaNam || 135||
hk transliteration by Sanscript