4. kaÂukIy> kaÂukIy> means a chamberlain. Actually kÂuikn! is
the correct form. kÂuk< ySy AStIit kÂukI, - He one who wears a
long robe. He is generally represented as wise old man who
employed with the king and in the ladies’ harem.
5. AakazÉai;tm! >- ik< ävI:yevimTyaid ivna paÇ< ävIit yt!,
ïuTva=nuKtmPyek> tTSyat! AakazÉai;tm!.
According to xnÃy> the author of dzêpkm! who defines dramaturgy AakazÉai;tm! is a stage-technique. In this, a character
on a stage use to address some-one who was not actually introduced.
He continues to pretend to listen the answer of the absent one and
he repeats the same for the benefit of the audience.
In dUtvaKym! , duyaeRxn> pretends to see ivk[R> and v;Rdev> who are not
actually introduced in the stage. Both of them are supposed to be
on the way to the council-chamber. Éas> continues this stage technique AakazÉai;tm! till the arrival of k&:[> in the court of duyaRexn,
He pretends to invite each and every one who are his gurus,
supporters, friends and brothers. In this same idea, sudzRn>
the weapon of Lord k&:[> arrived the stage on the call, he invites
all other co-weapons of lord k&:[> and send them back to their abode.
Éas‘s Theatre
Éas> called his theatre as s¼Itzala, He never used the such as
naq(zala naq(m{fp naq(veZm àe]ag&h etc., to denote theatre. s¼Itzala
would obviously a music hall.
There is further proof to show Éas‘s stage techniques for the guidance
of the actors such as rwveg< inêPy (having acted speeding up the chariot) ; rwadvtIyR (having acted getting down from the chariot); pu:papcy< naqyit
(acts plucking of flowers); pir³My (having walked about the stage);Aakaze
(speaking loosing towards the sky); àivZy ( having entered); %pivZy
(having seated);AaTmgtm! (to himself); in:³My àivZy (having gone out
and again entered); Apnyit (removes); punivRcayR(having thought again);
Conclusion:
It is indeed a very imaginative use of simple stage direction is keenly
given by Éas> which are not differed from Ért>, The possibility of
stage directions and techniques are fully explore and skillfully
exploited for the dramatic purpose in the plays of Éas>.
(This is a lecture given by me at Stella Mary's College for women, Chennai.)
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