Technical terminalogies of

Sanskrit Drama

Naandi (T)
Naandi is the introductory benediction at the
beginning of every play. In It, homage is paid to the
diety. Brahmins, Kings or the like coupled with an
invocation for blesstng. According to Sahitya
Darpana, the definition is:

Naandi is-the preliminary. worship of a

favourite diety before the commencement of the
drama. Natyadarpana derives Naandi thus:

7q3EATATA, KFT 3TA T A -Naandi means

that by which poets, musicians, spectator or literary
works are delighted or shine to advantage. Naandi
can also be explained in a different way. Nandi is
the bull of Lord Shiva. His back served as stage for
the dance of Shive displaying twofold varieties, of
Taandava and Laasya. Since the back of Nandi
served as a stage, the worship offered with a view
to entry on the stage is called Naandi.

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 Naandi is therefore the initial
worship in this
for the successfu staging of the paly. It 1s offered
that it is used at the beglnning of all the
s e n s e

a But of late, it has come to denote

plays
the
edictory verses composed by the poet himself
and the sense it 1s used in majority of plays like
Shaakuntala.

Sutradhara (ur:)
utTETA TTTTfa R : | The term FaUTr
stage-manager. He holds the conduct of
means a
definition is:
the stage. The
ATEeTYERUTfa zafarufaeaa|

There are two kinds of Sutradharas-Naandi

Sutradhara and Sthaapana Sutradhara. The duty
of the Naandi Sutradhara is to perform the
Purvaranga and that of Sthaapana Sutradhara is
to introduce the play to the spectators. He is also
called Sthaapaka. (H 7TPTYATA ARATTT:)
In the plays of Bhasa, the Naandi Sutradhara
confines himself to the Purvaranga ceremony and
the Sthaapaka pronounces the benedictory stanza
of the poet and continues the introduction to the
end. In the later classicial dramas including
Shaakuntaala, the Naandi Sutradhara performs the

Furvaranga ceremony and pronounces the

Mangalashloka. After his "exit, the Sthaapana
Sutradhara enters and cuducts the introduction.

217
The distinction lies in the fact that in the one class
of plays the Mangalashloka falls to the lot of the
Sthaapaka whereas in the other to that of the
Naandi Sutradhara.

Sthapana (*4Tvn)
PTUAT, TEATaAT and TqaqI give the same meaning.
The word FUTTAT is used in the plays of Bhasa. The

prologue FUTYAT literally foundation and in it

means

the stage manager lays the foundation of the plot.

The word taraHT is used generally in Kalidasa's
dramas and the later classical dramas.

Dasharupaka defines TAT thus:

i T TI|

In the prolugue, the stage manager is expected

to converse wittily with the actress or the assistant
actor or a clown for the purpose of introducing the
play to the spectators. Generally in the prologues
a mention of the poet of the work and occasionally
the flattering of the spectators will be there.
Bharatha in his Natyashastra says as follows:

TEATHT Ta: atq 4HETYHT4T||

However these rules are not observed in the
Trivandram plays.

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 Bharatavakyam (HKTATRTA)
Bharatavakyam will be sung in the last Act of
saditional Sanskrit Dramas. Usually Bharata
akavam will be in the form of a prayer for the
arosperous wellare of theking and the happiness
of the citizens of the nation. Perhaps
is included at the end
Bharatavakya
of the dramas
by the writers
to offer salutations to the author of
Bharata means
"Natyashastra".
gT actor. It is of the opinion of
or
several scholars that all the Bharata's or actors at
the end of the drama sung
together in the form of
prayer on the stage. But here in this drama
Charudatta, due to unavailability of the last
part.
just to respect the actors or the Sage Bharataa
respectfully remembered.