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Terminy nīras, nirastā w opowiadaniach Agjeja. Ślady sanskryckiej teorii estetyki rasa we współczesnej literaturze hindi

100%
Miążek T.
Academic Journal of Modern Philology
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2014
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vol. 3
43-54
EN
The main focus of this paper is to admit a possibility of interpreting some ideas present in modern Hindi literature in terms of the Sanskrit theory of aesthetics, originally conceived for stage performing arts. The author is aiming at presenting a symbolic context of rasa and its validity for usage in literature. Examples from Ajñeya’s short-stories point towards the possible connotations of the term nīras with the terminology of Sanskrit aesthetics rasa. The contribution of Saccidānand Hīrānand Vātsyayān known as Ajñeya in Hindi literature is presented in short. Some meanings of rasa known from Nāṭyaśāstra, especially the symbolic meaning of colors, are depicted as employed in modern literary criticism. Hindi terms: nīras “without sap,” “without taste” and nirastā – “dullness,” “emptiness” are discussed in relation to the Sanskrit term rasa “juice,” “taste,” “aesthetic experience,” “aesthetic category” and to its symbolic colors. The results of this discussion could serve as proof for an unbroken flow of Indian literary tradition since 500 BC till nowadays. Moreover, they acknowledge Ajñeya’s affirmative attitude towards the Sanskrit tradition.
2

The Nātyaśāstra: the Origin of the Ancient Indian Poetics

100%
Lidova N.
Cracow Indological Studies
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2012
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vol. 14
61-85
EN
The Sanskrit treatise Nāṭyaśāstra is the most ancient and authoritative Indian text on the arts. Some researchers, trying to single out the most ancient kernel of the text, dated it to the 5th century BCE. Others, meaning the concluding stage of its formation, by which the treatise had incorporated interpolations from different times, proposed much later dates up to the 7th-8th centuries CE. It is widely believed that the treatise acquired its modern form between the 2nd century BCE and the 2nd century CE. Of an encyclopaedic scope, the Nātyaśāstra treats a great variety of topics and comprises a manual for producers and performers, treatises on the theory of drama and aesthetics, as well as the oldest poetic theory in the Indian tradition. The main aim of this paper is to analyze the Nātyaśāstra as the earliest available source for the study of the Ancient Indian poetics.
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„Teatr będzie na świecie źródłem nauki dla wszystkich” (Natjaśastra) – o edukacyjnych aspektach indyjskiego tańca klasycznego

84%
Wójcik A.
Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
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2019
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issue 11(2) "Teatr w edukacji, terapii i profilaktyce"
60-76
PL
Artykuł stanowi refleksję na temat edukacyjnych walorów klasycznego tańca indyjskiego. Indyjski taniec klasyczny łączy dwa aspekty: taniec abstrakcyjny (sanskr. nritta) i taniec przedstawiający (sanskr. nritja). Szczególnie ta druga postać tańca – w której tancerz lub tancerka, za pomocą ruchów ciała, skodyfikowanego języka gestów oraz mimiki twarzy, przekazuje treści i opowiada historie – stanowić może nośnik treści edukacyjnych. Przyjmując za punkt wyjścia role, jakie przedstawieniu teatralnemu wyznacza najstarszy zachowany indyjski traktat o teatrze, Natjaśastra, artykuł przedstawia, jak edukacyjna rola tradycji taneczno-teatralnych realizowana jest współcześnie. Główny przedmiot analizy stanowi jeden z najbardziej znanych stylów indyjskiego tańca klasycznego – bharatanatjam.
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The Actor’s Social Status and Agency. Fame or Misery?

84%
Ganser E., Cuneo D.
Cracow Indological Studies
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2012
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vol. 14
87-131
EN
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.
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Indian Society as Depicted in the Caturbhāni and in Mahendravikramavarman’s Prahasanas

67%
Gönc Moačanin K.
Cracow Indological Studies
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2012
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vol. 14
133-145
XX
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.
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