Estimated reading time: 7 minutes
Have you ever imagined gods commissioning the very first theatrical performance? Assume a vibrant stage amidst the clouds, with divine musicians weaving melodies and actors reliving epic battles. This iss the story behind the origin of Indian theatre, as documented in the ancient text, Natya Shastra.
Bharata Muni joining hands with Svati and Narada
Bharata Muni‘s dream of bringing the Vedas to life through dramatic arts was about to take a grand leap forward. Brahma, the divine creator, bestowed upon him two invaluable companions:
- Svāti, the maestro of musical instruments, and
- Nārada, the celestial singer known for his mellifluous voice.
नारदाद्याश्च गन्धर्वा गानयोगे नियोजिताः ।
एवं नाट्यमिदं सम्यग्बुद्ध्वा सर्वैः सुतैः सह ॥ ५१॥
Nāradādyāśca gandharvā gānayoge niyojitāḥ।
Evam nāṭyamidaṁ samyagbuddhvā sarvaiḥ sutaiḥ saha॥ 51॥
Meaning:
With the help of Nārada and other celestial musicians skilled in singing, this drama was thoroughly understood and absorbed by all the sons.
स्वातिनारदसंयुक्तो वेदवेदाङ्गकारणम् ।
उपस्थितोऽहं ब्रह्माणं प्रयोगार्थं कृताञ्जलिः ॥ ५२॥
Svātināradasaṁyukto vedavedāṅgakāraṇam।
Upasthito'haṁ brahmāṇaṁ prayogārthaṁ kṛtāñjaliḥ॥ 52॥
Meaning:
Accompanied by Svāti and Nārada, I humbly stand before Brahma with folded hands. We have come to practice and deepen our understanding of Vedic literature and its related disciplines.
Svati’s rhythmic beats would set the pulse of the performance, while Narada’s heavenly melodies would weave magic into the storytelling.
Together, they would form a formidable trio, their talents blending seamlessly to create an unparalleled theatrical experience.
With their expertise at his side, Bharata’s vision was no longer just a dream; it was poised to become a reality that would forever alter the landscape of artistic expression.
We are here, follow us.
The scene of the first play of NatyaVeda for Indra’s Banner Festival
Scene: Celestial court of Brahma
Characters:
- Bharata: An eager apprentice of theatre
- Brahma: The divine creator
- Svāti: A master musician
- Nārada: A celestial singer
- Various Gods: Indra, Surya, Shiva, etc.
(Bharata bows reverently before Brahma)
Bharata: “Oh, wise Brahma! We’ve diligently studied the art of drama, guided by Svāti and Nārada. Now, we seek your blessings to present our creation.”
Brahma: (Nodding in approval) “Excellent, Bharata! The timing is auspicious. Indra’s victory banner festival celebrates the defeat of demons. Use this grand occasion to reveal your theatrical art!”
महानयं प्रयोगस्य समयः प्रत्युपस्थितः ।
अयं ध्वजमहः श्रीमान् महेन्द्रस्य प्रवर्तते ॥ ५४॥
Mahānayaṁ prayogasya samayaḥ pratyupasthitaḥ।
Ayaṁ dhvajamahaḥ śrīmān mahendrasya pravartate॥ 54॥
Meaning:
The time of the great performance has arrived. This glorious banner of Indra is being set up.
Svati: (Tuning his instrument) “The stage is set, Master Bharata. We, your musical companions, stand ready to bring your vision to life.”
Nārada: (Smiling warmly) “And my celestial melodies will weave magic into your narrative! Let the gods witness the power of storytelling!”
अत्रेदानीमयं वेदो नाट्यसंज्ञः प्रयुज्यताम् ।
ततस्तस्मिन्ध्वजमहे निहतासुरदानवे ॥ ५५॥
Atrēdānīmayam vēdō nāṭyasaṁjñaḥ prayujyatām।
Tatastasmin dhvajamaha nihatāsuradānave॥ 55॥
Meaning:
Bring the ancient wisdom of the Vedas alive through the power of drama! Let the story unfold, culminating in the triumphant victory of the hero (symbolized by the great flag) over the forces of darkness (represented by the demon).
(Bharata leads his troupe to Indra’s festival. Amidst cheering gods, he commences the performance.)
Narrator: (Played by Bharata) “This play depicts the mighty battle between divine beings and their monstrous foes!”
(Music surges as Svāti and Nārada weave a tapestry of sound. The actors, empowered by boons from the gods, bring the epic battle to life with passionate dialogues, graceful movements, and vibrant costumes.)
(The performance ends with a triumphant note. The gods erupt in applause.)
Indra: (Presenting a dazzling banner) “Bravo, Bharata! Your art has captured the essence of our struggle and victory! This banner, a symbol of triumph, is yours!”
(Other gods shower gifts upon the troupe, each reflecting their unique domains.)
Brahma: (Smiling radiantly) “Bharata, you have gifted the world a new form of expression. Let this ‘Natya Veda’ guide future generations to explore the depths of human emotions and celebrate the divine through theatre!
(As the curtains close, the legacy of Bharata’s first theatrical performance unfolds, shaping the course of Indian art for centuries to come.)
Uproar in Bharata’s Play!
As the play depicting the divine victory over Daityas and Dānavas unfolded, a tremor of unease rippled through the celestial audience. Uninvited guests, the very demons the performance portrayed, materialized among the crowd. Led by the formidable Virūpākṣa, their anger crackled in the air like static before a storm.
“We will not tolerate this mockery!” bellowed Virūpākṣa, his voice echoing through the stunned crowd. “This play twists our defeat into mere entertainment!” The Daityas, fueled by resentment, rallied behind him, their guttural roars shaking the very stage.
But the true chaos was orchestrated by unseen hands. Malevolent spirits, known as Vighnas, slithered out from the shadows, their forms flickering with dark energy. In a flash, their magical power descended upon the actors. Tongues froze mid-sentence, limbs locked in place, and memories fled like frightened birds. The once vibrant performance descended into a chilling tableau of paralyzed figures.
Had jealousy and rage plunged the play into irreversible disaster?
Could Bharata Muni’s dream of theatrical expression be crushed before it even truly began?
Find out what unfolds in the next blog as we witness the battle between divine creativity and demonic disruption!
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Frequently asked questions
As the play unfolded, a tremor of unease rippled through the celestial audience. They were taken aback when, the very demons portrayed in the performance, materialized among them. This unexpected turn of events created chaos and tension among the spectators.
The formidable Virūpākṣa led the demons in their protest against Bharata’s play. His anger crackled in the air as he confronted the celestial beings, his voice reverberating with righteous fury. His commanding presence rallied the Daityas, and together, they unleashed a torrent of resentment and indignation.
The demons were enraged by what they perceived as mockery in Bharata’s play. They believed that the portrayal of their defeat and the twisting of their story into mere entertainment was an insult to their power and legacy. This distorted depiction fueled their anger and propelled them to disrupt the performance.
The malevolent spirits, with their twisted and disruptive nature, seized the opportunity to sow discord and confusion among the celestial audience. They whispered poisonous doubts into the minds of the performers, causing hesitation and mistakes on stage. Their presence infused the atmosphere with an eerie darkness, casting a shadow over the unfolding drama in the Indian Theatre.
Conclusion
To conclude, the birth of Indian theatre was marked by both awe-inspiring creativity and unexpected chaos.
Bharata Muni‘s first theatrical performance faced fierce opposition from the demons it portrayed, resulting in a dramatic interruption by Virūpākṣa and his followers.
The arrival of malevolent spirits further plunged the play into disarray, leaving the actors frozen and the audience bewildered.
Will the power of divine creativity triumph over demonic disruption?
Stay tuned to find out in our next blog post as we delve deeper into this captivating story of struggle and triumph in the world of Indian theatre.
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At Natya-Shastra.in, our mission is to serve as a gateway to the illustrious world of the NāṭyaŚāstra, offering insights, resources, and a platform to delve deeper into the nuances of Indian performing arts. We aim to bring forth the richness of this ancient text, shedding light on the profound wisdom it holds and its everlasting influence on various artistic traditions.
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