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419:, as object of abhinaya, Kutiyattam adepts quote in Malayalam : "It is the mouth that utters the song, the hand outlines the meaning, the look enlivens the sentiment, the feet catch the measure and go on beating it. Where go the hands, goes the gaze; where goes the gaze, poses the mind; where there is mind, settle down the sentiments; where the sentiments rule sovereign,
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Nandikeshvara distinguishes two sources of pleasure in the spectacle: first of all, a visual support; and another, auditory. The former is composed of dance, mimes, gestures, dramatic expressions of the eyes and the face. The second explores the innate and potential wealth of a language, phonic as
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A number of details in the staging of the
Kutiyattam affirm first of all specialists' opinion that Nandikeshvara's influence had been deeper and wider on the concerned population than that of Bharata, at least owing to the geographical distance. Moreover, these very details refer so often to passages
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that there is no hesitation in recognising the proximity of this theatre with the place and the epoch that were
Nandikeshvara's. It has been demonstrated that the actors of the Kutiyattam willingly learn by heart and put into practice instructions formulated by Nandikeshvara, without always knowing
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well as semantic, and transfigures everything in contact with music : horizontally, owing to the rhythmic diversities (situated in Time) and, vertically, thanks to the ascending and descending impulses, as well as to the overtones on the scale of the microtones (situated in Space).
76:. The poet and playwright Bharata who wrote in Sanskrit, scrupulously executed "in his stage direction a good number of theoretical instructions received from Nandikeshvara, overtly disregarding the strict injunctions formulated by Bharata as it is manifest in the spectacle of
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arises." Closer to the poet Bhasa, they have been suspected of having certain distinct aesthetic principles that were, deliberately, not inspired by rules that
Bharata had instituted. Guessing what that tradition is, the above quotation is exactly what the verse or
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as "the great savour that uplifts our spirit by endowing it with a taste of true grandeur… Something that has to be felt, that throbs around us, that penetrates and altogether fills our heart (…), that completely rids of all other sensation.”
80:." Bharata’s plays had seemed, indeed, to ignore major inhibitions imposed by Bharata : for instance, that of fighting or inflicting capital punishment on the stage, etc. Even if it cannot be proved that the
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known in India, there has been an uninterrupted flow of compilations containing the teachings and the reflections of several prestigious masters, with commentary by other specialists of successive centuries.
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is as old as
Bharata's texts, nobody can disregard the considerable influence of this prince among playwrights on the traditional abhinaya we are speaking of, probably one of the oldest in the world.
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Nandikeshvara seems to have preceded
Bharata, according to Ramakrishna Kavi. Some consider him to be Bharata's master. The most concrete example of Nandikeshvara's teachings have survived thanks to
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or acknowledging their source. This is, however, an unexpected yet irrefutable confirmation of my hypothesis about the relationship existing between
Nandikeshvara and this traditional abhinaya.
96:, near Padmanabha-Pura in Kerala, found a bundle of about two-thousand-year-old palm-leaf manuscripts containing eleven texts composed by the legendary dramatist Bharata.
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125:). Thus, Bharata had remained not only a model for his posterity but, in the 4th century BC – out of the theme of Charudatta accredited to him -,
180:, Indian and Western historians place Nandikeshvara's school between the 5th and the 2nd centuries BC. After Matanga, Damodara Mishra in the
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ou les Six canons de la peinture hindoue, translated into French by Andree Karpelès, Paris, 1984, p.21 (reprinted)
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Phillip B. Zarrilli, "Where the Hand ..." Asian
Theatre Journal. Vol. 4, No. 2 (Autumn, 1987), pp. 205-214.
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Although
Bharata's texts had mysteriously disappeared, his contributions had been, however, remembered by
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Le chariot de terre cuite ("The Baked Clay
Chariot"), translated into French by P. Regnaud, Paris, 1876
477:. Translated by Kentish Coomaraswamy, Ananda; Kristnayya Duggirala, Gopala. Harvard University Press.
41:; 5th century – 4th century BC) was a major theatrologist of ancient India. He was the author of the
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A.K. Coomaraswamy & G.H. Duggirala, The Mirror of
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translated into French by P. Foucaux, 1877, Bibliothèque orientale Elz., Leroux
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The Scales of Indian Music: A Cognitive Approach to That/ Melakarta
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The Mirror of Gesture – Being the Abhinaya Darpana of Nandikeśvara
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Vol.1, edited by Pandit Gaurinath Shastri, Calcutta, 1978, p.184
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172:(c. 5th century) -, majestic stands out Nandikeshvara's
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555:, Manmohan Ghosh, Calcutta Sanskrit Series, 1954;
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551:, Gopinath & Naghbhushan, Madras, 1946;
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129:had recreated the famous play known as the
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281:Learn how and when to remove this message
432:by Nandikeshvara describes in Sanskrit:
342:Relevant discussion may be found on the
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