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Mistreated Vasanta: Comical Degradation of Ritual in the Hāsyārṇavaprahasana

100%

Pierdominici Leão D.

2017

tom 19

nr 2

61-77

The Hāsyārṇava of Jagadīśvara (14th century CE), because of its crude and, sometimes, vulgar tones, is one of the least studied prahasanas. The work depicts the celebration of the Spring Festival, Vasantotsava, with particular features which have few parallels in Sanskrit literature. The sacred meaning of the festivity in itself, which showed connections with the cult of Kāma and in this way centred on the themes of birth and regeneration, is mocked through comical devices. These themes contribute to outline a frame characterized by vulgar and degraded sexual elements. Despite its farcical and grotesque atmosphere, this comical piece undoubtedly underlines deep connections existing between a ritualistic act (understood here as the undertaking of the rite in the prahasana itself) and performative theatre in general.

The Actor’s Social Status and Agency. Fame or Misery?

72%

Ganser E. , Cuneo D.

Cracow Indological Studies

2012

tom 14

87-131

1The position of the actor in the Nāṭyaśāstra,2the first and foremost Indian treatise of dramaturgical principles, is ambiguous, to say the least. Although the actor represents the practical focus of a large number of chapters (all that concern abhinaya, i.e. “representation”) and the veritable centre of any conceivable theatrical performance, the actors are cursed to be degraded to the status of śūdras in the thirty-sixth chapter of the Nāṭyaśāstra, because they have misused their histrionic abilities to mock the r̥ ṣis. The lowermost social status of the actors in ancient Indian society is confirmed by passages of the Mānavadharmaśāstra, and other Smr̥ tis. However, the last chapter of the Nāṭyaśāstra leaves the possibility for the actors to redeem themselves from their condition and win back their original status of brāhmaṇas. An inquiry into the aforementioned curse-and-atonement episode allows us to account for the ambiguity of the status of the performer, especially focusing on the thirty-sixth and thirty-seventh chapter of the Nāṭyaśāstra in the light of Abhinavagupta’s commentary, and to assess the general ethics of the profession in early and medieval India.

Indian Society as Depicted in the Caturbhāni and in Mahendravikramavarman’s Prahasanas

58%

Gönc Moačanin K.

Cracow Indological Studies

2012

tom 14

133-145

In the classical Indian theatre or nāṭya, two rūpakas: nāṭaka and prakaraṇa, represent the most valued rūpakas or dramatic varieties. Nāṭaka, with its mytho-heroic-love subject and idealized representation of life, does not give a realistic picture of Indian life as prakaraṇas, profane in their character, do by describing urban life (Śūdraka’s Mr̥ cchakaṭikā) or courtly life (Kālidāsa’s Mālavikāgnimitra). The third preserved prakaraṇa, Bhavabhūti’s Mālatῑmādhava, with its love story, gives some socio-religious background (tantrism) as well. But the most plastic picture of everyday social life in ancient India is to be found in two other rūpakas, namely bhāṇa and prahasana. Bhāṇas are exemplified in Caturbhāṇῑ, in the texts of Śyāmilaka, Vararuci, Śūdraka and Īśvaradatta; and prahasanas are best represented in the work of Mahendravikramavarman. A lively description of the city life is achieved by bringing on the stage people from different strata of the society in a kaleidoscopic range of interesting characters.