Origin and Development of the Sattaka
Summary
Chandramouli S. Naikar’s Origin and Development of the Sattaka traces the lineage of the Saṭṭaka, a secondary form of Indian drama (Uparupaka). Indian dramaturgy categorises plays into ten superior forms dominated by poetry and eighteen secondary forms emphasising mime and dance. The Saṭṭaka belongs to the latter group and likely evolved from popular oral plays; its absence in early written literature does not imply that theatre was absent. Scholars like Adya Rangacharya describe Uparupakas as dance dramas with dialects, low characters and humour. Despite the lack of scripts, evidence suggests that folk performances existed long before classical Sanskrit drama. Naikar synthesises views from Sylvain Lévi, Sten Konow and A. N. Upadhye to argue that vernacular theatre was an important precursor to Sanskrit theatre. The Saṭṭaka’s features include mixed prose and verse, rustic themes and integration of dance and mime. Naikar concludes that the Saṭṭaka represents a bridge between popular folk culture and classical dramaturgy and calls for further research into regional folk dramas.
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Conclusion
Naikar highlights the Sattaka as a vernacular dance drama that predates Sanskrit theatre. Classified among the Uparupakas, it features dialect, humour and mixed prose and verse. The absence of written scripts indicates the loss of a rich folk tradition rather than a lack of theatre. Understanding the Sattaka helps bridge the gap between popular performance and classical dramaturgy.