Natyasastra, Sanskrit Drama and Its Theatre
Summary
The article examines the relationship between Bhasa’s plays and Bharata’s Natyasastra, highlighting that the early playwright Bhasa diverges from several dicta of the treatise. Bhasa’s plays resist neat classification and often violate rules such as the prohibition of on‑stage death scenes, absence of customary character types and unusual grammatical usage. Even celebrated plays like Svapnavasavadattam deviate from Natyasastra definitions by featuring a dhira‑lalita hero and multiple heroines. Tripathi reviews these deviations and notes that certain dramatic forms have become rare in later tradition. He contrasts Bhasa with Kalidasa, who consciously aligns his drama with Bharata’s theory, demonstrating awareness of rasas and acknowledging Bharata’s performance in heaven. The article discusses how Kalidasa refers to debates over the number of rasas and suggests that his works reflect a mature understanding of the Natyasastra. Bhasa, however, appears to draw on an earlier theatrical tradition where norms were flexible. Tripathi concludes that appreciating the differences between Bhasa and later dramatists helps trace the evolution of Sanskrit dramaturgy and the interplay between theory and practice.
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Conclusion
Tripathi concludes that Bhasa’s plays illustrate a transitional phase in Sanskrit theatre when Bharata’s rules were not strictly enforced. Bhasa occasionally ignores prohibitions and defies categorisation, whereas Kalidasa consciously follows and comments on Natyasastra doctrines. Recognising these differences highlights how early playwrights experimented with form before later theorists codified norms.