TYPES OF SANSKRIT DRAMAS

 

         Dramatic compositions are called Drisya Kavya, since they are meant to be seen on the stage as differentiated from the epic and other varieties called Sravya Kavya which are only meant to be heard and enjoyed. They are also called Rupakas since the ideas and sentiments are visibly represented in the person of the actors.

            The standard works on dramaturgy recognize ten different types of drama called Rupakas and ten minor types called the Uparupakas. The ten Major varieties are named as the Nataka, Prakarana, Bhana, Prahasana, Dima, Vyayoga, Samavakara, Vithi, Anka and Ihamrga, each differing from the others in the nature of the plot, the hero and the major sentiment depicted.

                   ‘naaTkM sap`krNaM BaaNa: p`hsanaM iDma:.vyaayaaogasamavaakaraO vaIqya|\kohamaRgaa dSa..’

          The principal variety of the drama is called Nataka and so the term is often used to signify all dramatic compositions in general. It consists of five to ten acts and deals with the well-known (Prakhyata) story of a hero of royal descent. The predominant sentiment is Sringara, Vira or Karuna, with other Rasas being used as accessory ones. Prakarana is a play in ten acts dealing with a fictitious story about a hero who may be a Brahmin or a merchant but not a King, and heroine who may be anyone including a courtesan and love is the major sentiment. The Bhana is a one act play, in the form of a monologue, with only one character with a rogue as its hero and with love or heroism as the chief sentiment. The Prahasana is a comic farce in one act, with many characters depicting the sentiment of Hasya. The Dima is a type of drama,  in four acts, which deals with well-known supernatural events and miracles. Any sentiment other than the Sringara and Hasya may be depicted and the characters will consist of gods, demigods, demons and Nagas. The other types of drama have been similarly defined on the basis of the plot, the hero, the sentiment and the number of acts peculiar to each. The Natika and the Sattaka are two among the many varieties of minor types called Uparupakas.

            The definitions of the Rupaka and Uparupaka types must have been based on the dramatic compositions available then. Of these, the Nataka, Prakarana, Bhana and the Natika have been more popular than other types. Even here, the Nataka has been the only kind that attracted the audience and the critics. This is evident from the largest number of plays belonging to the Nataka type and the few plays representing the other types.