ANCIENT Kalinga was great in every sphere of art and
culture. It is history.
The greatness was at its zenith during the regimes of Kalingadhipati
Maha Meghavahana Aira Sri Kharavela, two centuries before
Christ.
The supreme conqueror was not only one of the greatest connoisseurs of
art and culture but was also an exponent of all the 'Gandharba Vidyas', himself.
He had realised that to boost up the morale of the doomed populace of a great
culture was greatly essential. With this conviction, he held Nata, Gita,
Badita,Usaba, and Samaja regularly. He built up Catara and Jathara everywhere in his kingdom.
One huge, Catara or Jathara (the main State Theatre ?)
which he built with 50 pillars bedecked with pearls, precious stones and jewels
has already been lost into the oblivion through the passage of ages. But Kharavela
was not an ordinary person. He knew the immense loss the nature can bring
during the course of time, by annihilating every trace of the existence of men
and materials. He could foresee every thing lost. And so, he left his
documentary evidences engraved on the rocks, which he felt would remain at
least for a few millenniums before being wiped off by weather.
The Hatigumpha Inscription.
And so, beside the multi-sized caves of Khandagiri and
Udayagiri at Bhubaneswar,Orissa, we have the inscriptions of Kharavela in
front of the Hati Gumpha, which after over two thousand years, give us
the glimpses of the glory that was Kalinga.
In its fifth line
the inscription reads :-
* Gandhava Veda-Budho-Dapa-Nata-Gita-Vadita-SandasanahiThis means 'Expert in Gandharva Veda or all
histrionic arts himself, Kharavela, arranged for the entertainment of
his citizens, items such as Dapa(Combats),Nata(Dance),Gita(Music),Vadita(Orchestra),Usaba(festival)
and Samaja(Plays).
Incidentally all these words in Prakrut of this
sentence are still phonetically similar to the words in vogue in the modern
Oriya language. The Samaja stands for the plays in Jatra of
Orissa as it was and still is, in use throughout the Oriya speaking areas since
time immemorial.
In its 13th line the inscription reads :-
This means that Kharavela built in his kingdom Vithi(Roads),Catara
or Jathara (Theatres ?)Palikhani(Channels), Gopurani
(Gates)and Siharani (Temples) etc.
We are mainly concerned with the second word in the above sentence. The
language of the inscription is Prakrut and is very close to Pali and is written
in Brahmi script. Some experts have deciphered this word to read Jathara.
In spite of this difference of opinion as to how the word will be pronounced
the meanings given by these experts to this term has affinity to each other.
The Sanskrit lexicon, besides giving many other meanings of this word
mentions that the word stands for CAVITY or interior of anything. And so, these
experts who have read it thus, have given us the meaning to be 'excellent
towers with carved interiors’. After all, a theatre is invariably like
the excellent towers with carved interiors'. Hence Jathara is
THEATRE.
'Choutara' stands for a circular or
square plot of level ground or a 'court yard surrounded by wall or houses, or
the Choutara'.'Choutara' means a raised square platform with open
space around it. In different dialects of India it is known as 'Chabutara'
or 'Chibutra' also. These Choutaras are very common every
where since the inception of civilization.
It has always been a must in community life, Meetings, Kirtans,
Bhajanas, Marriage and Thread ceremonies, Yajnas, and all types of
religious and social functions need a Chautara. For every
show business we depend on a Chautara, the built in raised
platform with open space all around it. In Orissa, almost all types of
histrionic performances of Jatra i.e. Leela, Suanga, Pala, Daskathia,
Gotipua, Sakhinata, Ghuduki, (or Dhuduki) Nata and the like shows, need
a 'Choutara' for their presentation. In absence of a suitable
built-in 'Choutara’ a raised improvised platform is made
out of wooden planks of bed cots known as 'Manchaa' and the
performances take place over it, surrounded by spectators on all sides.
A 'Choutara' is raised so that all that goes on, on it are
seen to a distance. It helps the angle of sight line for all people sitting
around it. In case of slope or gallery around, a raised middle may not be
needed and only the plain level ground will also do.
It is no wonder and is absolutely a fact that this 'Choutara' has
remained a true people's theatre in our country since time immemorial-daringly
intimate and most democratic in its design, the principles of which had perhaps
evolved since the beginning of the first human society on earth out of sheer
necessities.
Do we have any evidence of Kharavela's Choutara, I mean the
square platform with open space at it's sides ? There is the remnant of at
least one, a small one dilapidated and rearranged, located in front of the
Ananta cave built by Kharavela, which is supposed to be oldest
and the best preserved cave amongst the Khandagiri caves.
There we see a raised platform with open space around. Though the
topography has changed, the remnants of an ancient small 'Catara' on
the top of a hill and the space on the slope side bound by stone walls, gives
us an idea about the structure.
|
Tatwagumpha 1. |
Tatwagumpha 2. |
Similarly the Ganesh
Gumpha in Udayagiri has a huge open court yard in front of it (
images below )
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|
|
|
What are those spots ? What are these structures so similar to each other
in their constructions? Why are the open spaces like court yards located near
these structures? Are these not Cataras or Jatharas
or places earmarked for Jatras. And the structures, I mean the
caves you see in the pictures consisting of rooms, verandahs, benches, pillars
and all, are nothing but places of 'NO ADMISSION' during the functions. These
are the so called green rooms of the modern theatre where artists do their make
up or retire.
Even to-day in Orissa and everywhere in our country, we find that Choutaras
are very much in use. Choutara of various sizes are located
everywhere, whether in urban or rural areas with sufficient space around, an
item of absolute necessity for the society living. It is the people's theatre
in the true sense of the term. It is the space of Jatra.
Since this Catara or Jathara is found to be a
most common thing and the type of Catara or Jathara we
are very much accustomed to, at present, do not need big planning nor budgeting
to finance it for its construction, how does this item turned to be an item of
so much importance that in those days. His Majesty the King,Kharavela,felt
the necessity of having it built everywhere in his kingdom so much so that he
felt the absolute necessity of including this item Jathara or Catara
more than once in his few lines of rock cut inscription, which gives
details of only his main achievements amongst many ?
These Catara or Jathara would
therefore definitely not be the common and the low cost mere Choutaras
of today. These, by all means were regular theatre halls, worthy to have
been constructed by an Emperor, who heartily had realised that "theatres
are the show places of a nation".
The Prakrut expression Catara or Jathara,
stands for the Sanskrit term Chatvara and the lexicon clearly gives us
the direct meaning of this word to be a stage, an amphitheatre, an arena etc.
amongst many others.
Incidentally both expressions of the same word Catara and Jathara
are directly and very closely inter-related in its meaning, as well as in
pronunciation to a most commonly used one word, Jatra in Oriya
the theatre.
The difference in the pronunciation is JA instead of CA and the THA instead
of TA and vice versa. Both JA and CA belong to the same CA class of consonants
of the Indian vocabulary.
As in to-day's common use Jatra takes place on a Choutara
or in otherwords a Jatra cannot take place or
presented, without a Choutara.
Since all other words in the same sentence, in the 13th line of Kharavela's
Hatigumpha inscriptions relate to what he built or constructed in
his kingdom, this word Catara or Jathara or Jatra
therefore, also directly related to a particular type of construction, construction
of a place where performing arts could be presented with ease for a gathering.
It is therefore the distinguished theatres, which he built for the
entertainment of his subjects, both hypaethral and the roofed ones.
At all times, Jatra relates to the place and sphere of
theatrical performances. The theatrical groups in Orissa are always known to be
the Jatra Dala or Jatra Mandali or Jatra
Walas. This Jatra Dala presents the Jatra
or theatre. In absence of permanent pandals earmarked for regular
theatrical presentations, the Jatra Dalas of today in Orissa have
turned peripatetic. These groups move from place to place and accommodate
themselves to present their Jatra shows at all assorted available
conditions. The Jatra groups individually specialise in their
repertory according to their choice i.e. Leela,Suanga,Pala,Daskathia,Ghudukinata,Rasa,Prahlada
Nataka, Desia Nata,Sakhinata etc.
Tropical climate, lack of proper patronisation, age-long foreign
dominations, low economic condition, inflow of outside influence, hatred of the
so called sophisticated, all combindly helped the indigenous Jatra not
to prosper. It is because of this that Jatra has invariably
turned to be rural and open air and the Jatrawalas always a wait
until fair weather.
As I have already stated, there is the repetition of the word Catara in
Kharavela's inscription. While just the plain word Catara
is in the 13th line, an adjective has been prefixed to it in the 16th line,
thus making the combined word Patalika Catara.
The 15th and 16th line read thus :
"Arahata-nisidiya samipe patbhare cha
varakara samuthapitahi anekajojanahitahi
panatisahi satasahasahi silahi silathambhani cha chetiyani cha karapayati"
"Patalika catare cha bedariya gabhe
thambhe patitthapayati panatariya sata sahasahi.
Bedariya neela bochhinnan checha jatthi
adhasatikan tiryan upadayati"
This means that near the slope of the mountains he [Kharavela]
built up a huge Patalika Catara [a Catara with
canopy of roof] having 50 stone pillars bedecked with precious stones at the
cost of rupees 75 lakhs and 35000 pieces of stone slabs collected from the best
quarries around.
Now this
leads us to reflect on the conception of Patalika Catara.While four pillars are sufficient to put on a canopy at the top of the
central platform more pillars are put up to hold the entire roof of the
auditorium all around the platform. And this Patalika Catara had
fifty pillars.
And hence, Kharavela's Patalika Catara was nothing but his
huge permanent State Theatre meant for a huge crowd where according to Kharavela's
own inscriptions Nata,Gita,Vadita,Usava and Samaja
were held regularly for the entertainment of his subjects.
And this theatre was built to be the most democratic in its design i.e.
the stage or the acting of performing area was in the centre with spectators
around, befitting the large heartedness of His Majesty the King Kharavela.
Its concept and the immense
varieties of its utilities.
During the passage of these thousands of years this main state theatre is
now lost but I vouch safe that slight traces of the remnants are still there to
prove beyond doubt that some unique structure was there long 
long ago.
The huge open space between the two hills Khandagiri and Udayagiri
is the exact spot where Kharavela's
Patalika Catara was located. During
these thousands of years, the huge roof and the pillars have crumbled down and
the stones have been carried away by men not knowing what it was or the
importance of it.
Similarly the debris must have been bull-graded, cleared and cut, to
allow the new pucca road to pass towards the Chandaka area from Bhubaneswar.
With whatever is left over for us to look bewildered and awe-inspired is
the still preserved section of a leveled open space with a section of a stone
lined gallery-like structure. This was octagonal in shape all around with plane
surface in the centre. The present condition of the existing structure gives us
the first impression that the structure is there to stop erosion of the hill
which is also correct. But the topography & the location of the premises, the surfaces of the nearby
caves, caves around and atop convinces that some unique structure was there
juxtaposed between the slopes of both the hills, the Khandagiri 
and the Udayagiri.
The present making of the huge ramp approach to the Hatigumpha
though does not seem to be antique; the foundation over which the present ramp
has been made seems to be of very queer type of engineering. The sides of the
ramp give a step like uneven ascent in stages and bound by admixture of
patterns.
On the western side of the ramp, there is a gallery like pattern. It is
true that ever since this place was discovered to be of some historical
importance, utmost care is being taken to preserve it as far as possible in
it's original shape. Things which
are considered to be the best as and when from time to time.
This was the place where the Patalika Catara was built by Kharavela.
While the whole thing was the Patalika Catara the
actual Catara was the area with or without the central platform
and the Patala or the roof was high up above resting on 50
pillars.
And the capacity of this Patalika Catara of the Top covered
theatre was for at least 20,000 spectators, if not more sitting all around.
How do the words sound the Catara (Chatwara or Choutara
etc.) or Jathara(Jatara or Jatra etc.)and the Theatre ?
How, the exact equivalent terms of the word 'theatre'
are pronounced in other language of the world ?
It is very interesting to note there is a close
phonetical affinity between all these words, Catara, Jathara, Jatra and
Theatre.
For all practical purposes, these terms carry the same
meaning and serve the same functions i.e. an acting area plus an auditorium
where performing arts can be presented with ease, to some spectators.
And in the case of Patalika Catara of Kharavela we
visualize that it was a fully developed permanent mass theatre with acting area
in the centre and spectators around.
But Kharavela did not stop there. In his efforts of practically
doing solid things for lasting effects, he had gone a step further.
The Patalika Catara was the huge State Theatre for
grand spectacles for the masses and so, what about the classes ?
Although I do not think there was any such distinct and wide difference
between the masses and classes as developed in later times and we know Kharavela's
life was a life of complete dedication to his people.
But, the king must also have his personal court
entertainers to entertain him, his family, his officials, his state guests. So
he should have a close intimate theatre for this purpose, worthy of a monarch.
An exponent of all arts (including the histrionic arts himself,) Kharavela
would not have left things in a mere manner. And so, within the precinct of the
double storied Rani Gumpha caves he had left another Catara
or Jathara, of course with a little difference from the
others, cut out of the solid rocks of Udayagiri and fortunately it is
still there for every body to see and stamp on it.
What is it if not a regular cave theatre,where Nata,Gita
Vadita,Usava and Samaja were being performed and the same can be
presented with ease even to-day ?
This Rani Gumpha or sometimes very fondly called the Ranihamsapur
or Raninaur, (the queen's palace) is for the layman, a
series of rock cut caves. For all historians it has always been a huge
monastery meant for Arhatas,Sramanas,Brhmanas,Jatis,Trapasas and Rishis.
But the grandeur of the pattern, the beautiful and luxurious design of the
structure, carving of amorous figures prove beyond doubt that this Ranigumpha
was not for heretics at all. For me and from now on for all, it is going to
be identified for all times to come, what exactly it is, for which it was built
by king Kharavela
Strangely enough (Strange because we had
never thought of it) this Prekshya Gruha fits in to the prescribed
dimensions and conditions of Natya Sastra of Bharatmuni in
minutes details, as given in Chapter two, Prekshya Gruha lakshyana.
(1) Natya Sastra of Bharat
Muni states in sloka
7 and 8 of Chapter two, thus,
"There are three types of play house devised by
the wise Visvakarma (the heavenly architect)
in the treatise on his art.The Natya
Sastra. They are Rectangular (Vikrsta),
Square (Caturasra) and
the tringular
(Tryasra).Their sizes vary : they may be large
(Jyestha), middle (Madhya) and small (Avara).
|
* |
The Rani Gumpha is of the Rectangular (Vikrsta) type and it is of the middle size (Madhyama) |
(2) In sloka 9 and 10 it reads :
"The length of these fixed in terms of cubits
as well as Dandas is, one hundred and
eight, sixty four and thirty two for Jyestha,
Madhyama and
Avara respectively"
|
* |
The length of Rani Gumpha theatre is 64
cubits only as prescribed for 'Madhyama'
|
In slokas 12 to 16, Natyasastra gives us a detailed table of
measurement prevailing then.
I am not going into its details. We are concerned only
with it's overall standards.
We will be involved only with two terms, Danda
and Hasta.
One Danda =
four hastas [or four cubits], One Hasta or one cubit = Eighteen inches. The accepted
standard for one cubit is 18", but actually this varies from 18" to
22"].
(3) Sloka II reads :
"The large playhouse is meant for Gods and the
middle sized one for kings, while for the rest of people has been prescribed
the smallest.
(4) Sloka 17 reads :
"A play house meant for mortals should be made
sixty four cubits in length and thirty two cubits in breadth".
(5) Sloka 18 to 23 reads :
"No one should build a playhouse bigger than the
above, for a play in it will not be properly expressive. For anything uttered
in too big a playhouse will be losing euphony due to weak resonance of the
sounds uttered. When the playhouse is very big, the expression in the face on
which rests the representation of states and sentiments, will not be distinctly
visible. Hence it is desirable that play house (of the rectangular type ) should be of medium size, so that the recitatives as
well as the songs in it may be more easily heard. Creations of Gods in house
and gardens are the outcome of their will, while men are to make careful
efforts in their creations, hence men should not try to rival the creation of
Gods. I shall now describe the characteristics of a house suitable for human
beings".
(6) Slokas 33 to 35 read :
"Measure a plot of land sixty four cubits and
divide the same into two parts. The part which will be behind will have to be
divided again into two equal halves. Of these halves one should be made the
upper stage Rangasirsa. The passage
room or the Nepathya Guru is to be made
to the west of this Rangasirsa.
Half of this i.e. thirty two cubits (48') is the
auditorium. The other half i.e. thirty two cubit (48') has again been divided.
On one half of this i.e. sixteen cubits [24'] is the Rangasirsa
(upper stage) and to the west of this Rangasirsa
is the Nepathya Gruha
[passage rooms.]
The word Nepathya Grhua has been identified as either tiring rooms,
dressing rooms of green rooms by experts. Although the utilities of these rooms
actually also include such functions, I am naming it 'passage rooms' because of
the word 'Nepathya', itself. This word is derived
from Ni and Patha hence directly relates to path or
passage and involves the way i.e. on the way etc.
* The required open space for the auditorium is still
there in the Ranigumpha theatre, but now it has been
made into leveled grassy lawn.
* The area for the Rangapitha
which is required to be of 16 cubits length and 32 cubits breadth (24'X48') is
still intact. It has now only a partially (9') stone cut floor towards it's western side. Though of the same level, the remaining
portion is now earth filled.
* The Rangasirsa, also
exists of the size of 16 cubits (24') by 32 cubits (48') which is exactly what
is required. Only the front portion of the Rangasirsa
has been damaged and the rocks have given away by few feet.
* The Nepathya Grhuas are located to the west this Rangasirsa
and do not from a part of the specified area. This fact is also in accordance
with text of Natya Sastra.
(7) In Sloka 35 to 38 reads :
"Having divided the plot of land according to
rules laid before, one should lay in it the foundation
of the play house in an auspicious day. And during this ceremony, all musical
instruments such as Conchshell, Dundubhi,
Mridanga and Panava should
be sounded. And from the place of ceremony undesirable persons such as heretics
including Sramanas, men in dark red robes as well as
men with physical defects be turned out."
* Natya Sastra
mentions turning out of undesirable persons from the place of foundation laying
ceremony where Natyamandap is to constructed.
* Since this Mandap
(medium-rectangular) is meant for the kings and the site is earmarked, the
place could also be cordoned before hand. How could the undesirable be there,
if it is just an open leveled and plain plot of land needing to be turned out ? After all it is a king's Project.
Even today, such convention of keeping the undesirable
away from such propitiatory functions, is still
followed by a section of people. But the convention does not drive them out, it only prescribes the various misfortunes to follow if
you just see them during the time of measurement.
* Natyasastra states no such
driving away of undesirables during the measurement day but on the day of
foundation ceremony, which is another day.
Evidently the site would surely have to be by the side
of a hill or something where there would be either caves or some dwelling of
undesirable already existing which needed evacuation
* And to justify Ranigumpha,
which consists of a series of Gumphas or caves, it is
all the more plausible that there were some caves already existing there, where
the undesirables were dwelling, before the spot was chosen for this purpose,
until the formal ceremony and these undesirable were asked to go away.
As it is, we know form the inscriptions of the Hatigummpha, that Kharavela his
family members and his servants had constructed many caves around Khandagiri and the Udayagiri for
the heretics.
Sino basikaroti tera same cho base supabatabijaya chhoke kumari pabate arahato parinibasato hi kayanisi diyaya rajabhatakchi, rajabhatihi, rajamahisehi, Kharavela Sirina".
Which means in the thirteenth year in his kingdom of
victory, Shri Kharavela, his
queen, son, brother, relatives and servants constructed 117 number of caves for the
heretics i.e. the Arahatas, Shramanas, Jatis, Tapasas and Rishis.
It is possible that some of these caves were evacuated
to convert this area as a theatre. Coincidently, Natyasastra states about 'Shramana'
and even this word 'Samana' appears in the
inscription of Kharavela and all types of persons
mentioned above usually wear 'Kasaya',coloured or
dark red cloths.
(8) Sloka 63 to 65 Natyasastra states :
"At the side of the Rangapitha (lower stage) the Mattavarani should be built and this should have four
pillars and should be equal in length to the Rangapitha
and its plinth should be a cubit and a half high (than that of Rangapitha). The plinth of the Rangamandala
(auditorium) should be equal in height of two (Mattavarani).
Right side view of Ranigumpha Theatre
Left side view of
Ranigumpha Theatre.
KUHARA,
MATTAVARANI and SAD DARUKA (Landing for Staircase.)
MATTAVARINI, SAD DARUKA and SUPITHAM above.
On each side of the Rangapitha (Lower stage) of the Ranigumpha
theatre there exists the Mattavaranis.
Each has four pillars (including pilasters) and are
almost of the same length. The plinth of the Mattavarani is 11/2 cubit (2'-3').
The Mattavaranis are the side rooms and nothing else.
These, in comparison to the modern theatre can be identified as green rooms
located in the so called wings both at right side and left side of the acting
area.
* Stage or the acting area in Ranigumpha
theatre is identified in two levels both at Rangapitha
(the lower floor) and at Rangasirsa, (the upper
floor).
* And hence the Mattavaranis
or the side rooms are most befittingly located on either sides
of both the floors thereby bringing the total number of Mattavaranis
to four.
* But while Natyasastra
gives specifications for the Mattavaranis of the Rangapitha, nothing has been prescribed for similar rooms
of Rangasirsa. In the Ranigumpha
theatre though these are located, they vary in sizes and number of pillars on
them.
Location
|
Place
|
Side
|
Nos. of
rooms
|
Nos. of pillars including
pilasters
|
Lower
Floor
|
Rangapitha
|
Right
|
3
|
4
|
Lower
Floor
|
Rangapitha
|
Left
|
1
|
4
|
Upper
Floor
|
Rangasirsa
|
Right
|
1
|
2
|
Upper
Floor
|
Rangasirsa
|
Left
|
1
|
3
|
* These existing side rooms do not form a part of the
specified area of
the of the Prekshyagruha ( play house ). Natyasastra
specifically says that these should be at the sides (Parswatah)
and names them as Mattavarani (?) There seems to be a
lot of controversy and confusion about the meaning of this word Mattavarani. I fully agree with those who have meant it as
side rooms; only with slight change.
According to me :-
The word 'Mattavarani' can
be explained to mean rooms of NO ADMISSION. The term is a combination of two words 'Matta' and 'Varani'. Matta stands for 'Emotion' and 'Varani'
means restriction.
Together therefore it stands for the place where
admission is restricted or prohibited for emotional people, perhaps meant for
spectators. Being rooms where artists do their make up, dressing or rest, like
the present day green rooms, the admission is prohibited to these rooms and
hence the name Matta Varani.
They are located nearer the acting places in this rectangular theatre.
* This establishes for all times that 'Mattavarani' mentioned in Natya sastra is (i) not a verandah or
(ii) not a decorative frieze or rows of elephants in rut, it is the side rooms,
to which admission is prohibited.
(9) Sloka 67-68, Natyasastra reads :
According to these rules the Mattavaranis
should be built. Then one should construct the lower stage (Rangapitha)
and then the upper stage(Rangasirsa)
complete with SAD-DARUKA (A frame
work made with six pieces of wood) according to the prescribed laws'.
Rangasirsa—The Upper stage
Rangapitha –The
Lower Stage Sad
Daruka,Where wooden
stair enables to climb up stage. Sad Daruka.
* No woodwork exists now in the Ranigumpha
theatre nor can be expected to exist after these thousand of years.
I have been intrigued by the difference of opinions
which prevails amongst the commentators of Natyasastra
about this word SAD-DARUKA. Invariably all have agreed that 'Sad-Daruka' is a framework consisting of six pieces of wood.
While some have taken it to be the frame work to support the stage planks,
there are others who have interpreted it as series of such frameworks to form
fence of barricades. There are yet others who have not identified the location
or it's use but have admitted the existence.
* It can safely be assumed that the 'Sad-Daruka' was the 'connecting link' between the 'Rangapitha' (Lower stage) and 'Rngasirsa'
(Upperstage). The Sad-Daruka
is the stairs which in many Indian language is known as 'Sidi'.
The stairs are usually made of wood and the name Sad-Daruka is derived because six pieces of wood are used for
it to make.
* The 'Sad-Daruka' or 'Sidi' located on either sides, were close to the Mattavaranis of the Rangapitha.
The landings of these stair cases are still there in
the Ranigumpha theatre on
either side of the Rangapitha below the floor of the Rangasirsa. Incidentally there exists no other provisions anywhere
around the Ranigumpha, to climb up to the first floor.
As it is now, in absence of a ladder one has to do a bit of mountaineering to
reach there and look around.
* We have a full upper stage (Rangasirsa)
at the Ranigumpha theatre, Rangasirsa
is not the stage surface as some experts opine but it is a regular floor at a
height of 10 feet from the floor of the lower stage (Rangapitha).
(10) Sloka 69 reads :
* Since there is no wood work existing now it can be
assumed that there were two wooden doors supplied for the passage rooms or Nepathya.
These two doors were located on either side behind the
acting area on the first floor (Rangasirsa) and were
facing the auditorium which is on the east. These doors were close to the Mattavaranis located on either side of the upper stage
also.
* Nepathya Gruhas are the passage rooms and are located behind the
acting area in the Ranigumpha theatre. There are two
series of rooms on either floors, one behind Rangasirsa
on the first floor and the other behind Rangapitha on
the ground floor.
* As I have mentioned before, a front portion of the Rangasirsa of the Ranigumpha
theatre had given away. The pillars based on the ground floor which were
carrying the load of this front portion, had also been damaged and the floor
has now been trimmed. We can still locate their base marks even now. However,
the rooms, (The Nepathya Gruhas
of the Rangapitha) are still there intact, complete
with topless verandah, and the high bench near the wall.
* The plinth of the Nepathya
Gruhas are 11/2 cubits (2'-3') higher than
the acting area in both the floors. Inevitably, the Nepathya
Gruhas of Rangapitha are
exactly under the Rangasirsa, or in other words the Rangasirsa forms the roof top of the Nepathya
Gruhas of Rangapitha in Ranigumpha Theatre.
* While Mattavaranis are the
side rooms, the Nepathya Gruhas
are the back rooms of the acting area in a rectangular theatre.
(11) Sloka
72-73, Natyasastra states :
"Thus the upper stage (Rangasirsa)
should be carefully constructed. It's floor must not be
(convex) like the back of a tortoise or (sloped0 that of a fish"
* The floor of the upper stage (Rangasirsa)
of the Ranigumpha theatre is extremely leveled and it
was likely that the surface was like that of a mirror when built.
We know now, that Ranigumpha
theatre was the royal theatre of King Kharavela. It
is no wonder that all care must have been taken to make everything posh.
Nepathyagruha The
Passage rooms behind.
(12) Sloka 84-74 states :
"Jewels and precious stones should be laid
underneath this by expert builders. Diamond is to be put in the east, lapis
lazuli in the south, quartz in the west and coral in the north, in the centre
gold."
* There is every probability that the Ranigumpha theatre had all these. Built
by Kharavela, who brought immense wealth upon each of
his expeditions.
His inscriptions also gives an account of the jewels,
gems and precious stones which embedded the pillars, ornamental floor and
ceiling of a hall.
Which means that having spent thirty eight lakh souverns
, He built up the Mahavijaya Prasada (
Palace of victory ) for the residence of the king of Kalinga,
having studded with Lapis Lazuli.
And again in the same line it says.
'Ekadashame cha vase... ... mani-abtanani
saha jati' 
Which means
that, 'He (Kharavela) caused the Pandya
king to bring him jewels, rubies as well as numerous pearls in hundreds ...
'etc.
In the 16th. line ... ...
'Patalika Catare cha bedarity gabhe thambhe patithapayati sata-sahasehi bedariya-nila-bochhinnam checha-jattahi-adhasatinkam
tiriya upadayati ... ...'
'... ... he built up a huge theatre with 50 pillars and
roof bedecked with beryl, gems, pearls and precious stones.
* All these facts and figures speak for themselves,
the immense treasure Kharavela had.
(13) In Slokas 75 & 76 Natyasastra states :
"And the wood work of the theatre roof has to be
done. Rafters and cross beams with many decorative designs, carved figures of
tigers, elephants, lions are to be made."
The Ranigumpha Theatre had a
roof (The Rangasirsa)
over a wooden frame-work, Most probably the roof was thatched or tiled
and under the roof there must have been a beautiful wooden or appliquéd
lining also.
* The existing decorative designs and the remnants of
the carved figures of various kinds on the rocks, give us an idea of the gigantic
artistic work which must have been associated with this magnificent monument thousands of years ago.
There still exists many
well cut round holes on the rocks in which the wooden poles were being
inserted.
(14) In Slokas 76 to 80 Natyasastra states :
"In this upper storey many wooden statues and
other decorations should be set up. Also doors, peepholes, decorated platforms,
ornamental mechanised
latticed windows good seats, numerous dove cots and decorative pillars
at various places. And the wood work having been finished, the builders should
set out to finish the walls. No
pillar, bracket, window corner or door should face a door."
The Ranigumpha Theatre has an upper storey (Attalam),
pillars (Stambhas),Brackets
(Nagadantam), ,Peepholes(Kuhara)
and Good seat (Supitham). Doors (Niryuha)
and Windows (Vatayanam) were surely there.
* There could not have been number of good seats in
rows because of the fact that this is on the upper storey of the acting side
and we have no account available to know whether the auditorium also had two
floors as clearly indicated for the stage.
Since the auditorium space is thirty two cubits
square, it could take another floor for the auditorium but in that case, acting
done on Rangapitha (the ground stage) will not be
seen to many on the first floor, while acting done on Rangasirsa
(upper stage) can be only seen from the first floor auditorium.
* Good seat described as 'Supitham'
is located on the platform given on the Upper storey. It can only be assumed
that at least one row of seats cut out of the rocks were there on either side
on the first floor, starting from front corners of Rangasirsa
towards the auditorium above the Mattavaranis, like
the side balcony seats.
As it is, in Rani Gumpha theatre we do have specified space for this
distinguished good seat 'Supitham', on the upper
storey probably meant for the King and Queen. This could also be used for the character
in the role of King. This is located above the left Mattavarani
of the lower stage (1 in page 21). There is also another small similar
structure on the right side above the right Mattavarani
of Rangapitha (lower stage).
These are the only places for good seats or 'Supitham' from where most of the things what goes on the
acting areas of both the floors can be viewed properly.
Natyasastra does not say that in the
medium rectangular type of theatre, the Rangamandala
or the auditorium should also be in tiers, whereas for the square type of
theatre (Caturasra) this sitting arrangement has been
very clearly prescribed to be tier (Sopanakruti Pithakam).
SUPITHAM -The Royal Good Seat.
(15) Natyasastra tells us in Sloka 65 :
'The plinth of the Rangamandala
or the auditorium will be of the same height as that of the Mattavaranis'.
The plinth of the Mattavarani
has been prescribed as one and a half cubit high from the plinth of the Rangapitha or the lower stage.
* Most properly the auditorium was also in tier. Even
if it was just a platform having a plinth of one and a half cubit, would also
be in the sight lines for the actions done on the Rangasirsa.
I have checked up and found out that even sitting on a
level of one and a half cubit high (supposed to be the first row in the
auditorium) one can see every thing that goes on the front portion of Rangasirsa, because although the distance between the first
row of the auditorium and the first point in the acting area on the Rangasirsa on the direct axis is sixteen cubits (24') away,
is ten feet high up.
But, having built such a beautiful royal theatre, King
Kharavela would not have left a platform for the
accommodation of his distinguished spectators. Although there is no evidence
now to prove that there was a gallery opposite the Rani
Gumpha, the leveled lawn indicates some clearance job
done either before or after it's discovery. A heap of
age old debris of stones and earth with heavy undergrowth of bushes and shrubs
must have been wiped-off to clear the view of Ranigumpha.
Open space sufficient enough to hold a gallery with
passage for entry and exit, corridors, aisle, lobby, foyer etc is available
intact at the Rani Gumpha
Theatre premises.
I assume that the main gate of this theatre was on the
east side with two side gates, one on the north side and the other on the south
side (the present approach to the Rani Gumpha). There was a flight of steps to go up to the main
gate on the hill from the east side of Udayagiri.
However, whether there was just a platform or a
gallery, the total
honorable
accommodation will not exceed more than 400 spectators in the Rangamandala of Madhyama Vikrsta Prekshya Gruha.
(16) In Slokas 80 to 82 Natyasastra states :-
"The play house should be made like a mountain
cavern and it should have two floors and small windows. And it should be free
from wind and should have good acoustic quality. For in such play house made
from the interface of wind, voice of actors and singers as well as sound of
musical instruments will acquire volume"
* The Ranigumpha theatre is
itself of Gumphas, it is a mountain cavern and it has
two floors in two different levels. The first floor (Rangasirsa)
is located at a level of ten feet higher than that of the ground floor where Rangapitha is located. It had very small windows. It is
free from wind and it has very good acoustic quality. In this Rani gumpha
theatre the voice of actors and singers as well as sound of musical instruments
do acquire volume even in the present conditions.
Even now you need no microphone at the Ranigumpha theatre, because even small tones are heard to
the distant places in the auditorium from Rangapitha,
Rangasirsa and Nepathya Gruhas of both floors.
RANGAPITHA RANGASIRSA
Left view
of Rangamandala
Artists impression of the architecture
Left view
Ranigumpha Double Storied Theatre
(17) In Slokas 82 to 84, Natyasastra
states:-
“The construction of wall being finished, they should be plastered
and carefully black washed. After they have been smeared with plaster and lime,
made perfectly clean and beautifully plain, paintings should be executed on
them. “In these paintings should be depicted creepers , men, women and their
amorous exploits.”
Ranigumpha Theatre as exists today
is only the rock cut portion, which consists of Rangapitha,
Rangasirsa, Mattavarinis, Nepathyagruha, Sad daruka etc.
All other portions such as the auditorium, outer walls, roof, gates etc had
been constructed to complete the Theatre. These are no more there but the fact
that walls were fixed to the rock can be identified from the joining portion.
The designs and paintings of the given description were also there.
The joining portion on the
rock can be seen at the side.
(18) In Sloka
85, Natyasastra states :-
This "Catara"(now
more dearly called as the Ranigumpha or Rani Hansapur or the Rani Naura) is evidently the only
(until another is discovered somewhere) existing specimen in the world of the
'Hindu Theatre' or 'Sanskrit Theatre' or the Classical Indian Theatre of the
Medium rectangular variety meant for the Kings.
* When a regular theatre has now been discovered to be
of the exact specifications of the Natyasastra of
Bharat Muni, this establishes the existence of 'Natyasastra'
before Kharavela i.e. before over two thousand years
from now.
* It could also be that Natyasastra
was written by Bharat Muni after studying the measurements of Ranigumpha Theatre built by Kharavela.
* This discovery of the 'Madhyama
Vikrsta Prekshyaveshma' or
the middle sized rectangular theatre at the Ranigumpha
of Udayagiri,
·
We have to bear in mind that the specifications given
for tbe 'Vikrsta Madhyama Theatre' (which is accordingly meant for the
Kings) do not necessarily hold good for the other two types, the Caturasra and the Tryasra. In
fact the specifications given for this 'Vikrsta Madhyama'
in the text are and holds good for, just one out of the other specified
varieties. Hence the same specifications cannot hold good for other varieties
except for the item for which it specifically makes a mention.
A wooden
scale model of Ranigumpha Double storied Theatre
created and being explained by Shree DHIREN DASH.
(19) Natyasastra,
in its Slokas 86 to 88 states :
"Now I shall
speak of the characters tics of that of the square type. A plot of land, thirty
two cubits in length and breadth, is to be measured out in an auspicious
moment, and on it the playhouse should be erected by experts in dramatic arts.
Rules, definitions and propitiatory ceremonies mentioned before will also apply
to that of the square type.
* It should be
remembered that rules, definitions etc., meant for the medium rectangular
theatre which are also applicable to this square type theatre, are only those
of the propitiatory ceremonies etc, as prescribed in this Sloka
and they do not hold good as regards the type, style and specification of this
square type.
As for example 'Natyasastra prescribed Karya Saila Guhakaro'etc., for the
Rectangular type but has not said anything like that for the other types.
Similarly nothing has been said about the 'Sad-Daruka'for
the other types.
(20) In Slokas
88 to 89, Natyasastra states :
"It should be
made perfectly square and divided into requisite parts by holding the string,
and it's outer walls should be made with strong bricks
very thickly set together."
* This should be
pointed out that division into 'requisite parts' does not necessarily bind us
to follow exactly what is given for the Medium Rectangular (Vikrsta)
type. The division may vary, and it does vary to a great extent as we proceed
to understand it.
(21) Sloka 89 reads :
'In the centre (Abhyantara) of this area (the square one with brick outer
walls) the stage (Rangapitha) has to be made at the
place marked earlier.'
'Abhyantara' is the inside center
and 'Jathadisham' is the place marked earlier or
earmarked.
In
this 'Caturasra'(square type) of playhouse the acting
area is centrally located and the spectators sit all around, unlike the 'Vikrsta', where the acting area is on one side and
spectators on the other. Naturally the style of presentation of the performance
in it is just like the common traditional Jatra of
Orissa.
(22) In Slokas 90 to 95 Natyasastra says :
"Ten pillars
capable of supporting the roof should be raised. Outside the pillars, seats
should be constructed in the form of a staircase by means of bricks and wood,
for the accommodation of spectators, successive rows of seats should be made
one cubit higher than the floor. And all these seats should be in proper
sightlines."
"Six more good
pillars capable of supporting the roof should be raised in suitable positions
as per principles. And in addition, eight more pillars should be raised above
these. The seating arrangements (for spectators) should be made there in eight
cubits space and more pillars should be raised to support the roof of the
playhouse which should be made strong with supporting beams and be decorated
with wooden dolls."
* This in relation
to '6',(at page 16)would clearly mean that this is a playhouse with acting area,
'Rangapitha' in the centre (Abhyantara)
and not at a side or one sided as some experts opine.
(23) Natyasastra
in Sloka 95 to 96 reads :
'Then one should carefully
construct the passage room (for artists). It should have one door leading to
the acting area and another door opposite it, through which persons (artists)
should enter. There should also be a second door facing the auditorium (for
spectator’s entry into the auditorium)'.
* This is to mean
that the artists after leaving the dressing room were to enter through a door
into the Nepathyagruha or the (Artist's) passage room
where they were to wait until their roles came. During the performance they
pass through another door leading into the acting area.
Another door on the
other side was meant for entry and exit of spectators into the auditorium.
* The size of this 'Nepathya Gruha' or the passage
room for artists in a square playhouse is not prescribed, not it is said that
it should be exactly as that of the 'Nepathya Gruha'of the rectangular playhouse.
* It is thus, a
different type of 'Nepathya Gruha'
in the 'Caturasra' theatre in comparison to the Nepathya Gruha of the 'Vikrsta' theatre.
(24) In Slokas
97-98 Natyasastra states :
'The acting area should be eight cubits in length and breadth. It should be
square, leveled and like a decorated platform'.
* As we know 'Rangapitha'
and 'Rangasirsa' are not the same although both are
acting areas in two different levels.
This eight cubits square mentioned here is meant for the 'Rangasirsa'
and not for the the 'Rangapitha'
as mentioned, because of the fact that the word 'Rangapitha'
is again used in Sloka 99 .
* Since it indicates clearly that this acting area should be eight cubits
length and breadth, the idea of some experts showing illustrations with eight
cubits length and thirty two cubits breadth is not acceptable because it
becomes rectangular instead of a square.
* Eight cubits square can be justifiaby located
centrally in a thirty two cubits square thereby leaving sufficient space
around.
(25)
In Slokas 98-99 Natyasastra
states :It's Mattavarani should be made
according to the rules prescribed before and should be made with four pillars.
The Rangapitha (lower stage) should be either more
elevated than the plinth of Mattavarani or equal to
it in height. * As I have affirmed before 'Mattavarani'
is the side room. The specifications of Mattavarani
of the rectangular theatre hold good for the square theatre also.
Mattavarani in the middle rectangular theatre does
not come within its specified area which is sixty four cubits by thirty two
cubits. It is locate it on one side outside the auditorium. Please see
illustration above.
* No where it states that it should have two Mattavaranis
for the square theatre. Only one Mattavarani for the
square type of playhouse is acceptable because of the restriction of the number
of doors.
(26) Sloka-99
of Natyasastra reads thus :
'The Rangapitha' should be made of the same level or
higher than of the plinth of the Mattavarani.
Since I have stated that square type of playhouse will have the acting area
centrally located, the arrangement is as under.
In the centre of the auditorium there is a raised square platform which is the Rangapitha and above this in it's
centre there is another but comparatively smaller square platform which is the Rangasirsa. Since this eight
cubits square Rangasirsa is specifically meant for a
playhouse of thirty two cubits square, it is inevitable that a bigger Rangasirsa will be needed for a larger playhouse.
When the Rangasirsa is eight cubit
square, the Rangapitha which is located below it, has
to be bigger, though not specified. Twelve cubits square for Rangapitha is reasonable and absolutely appropriate
aesthetically for a thirty two cubits square theatre.
Considering that few artists will act on it and move around conveniently the
word Rangapitha in Sloka-97, should read as 'Rangasirsa'and with the words 'Rangapitha',
in Sloka-99,we have a clear conception of the theatre with 8 cubits square
space for Rangasirsa in the centre (Please see my
view below).
(27) In Sloka 100 Natyasastra states :
"In case of a playhouse of the Vikrsta type
(rectangular) it (the plinth of the Mattavarani)
should be higher than Rangapitha (lower stage),
whereas in a playhouse of the square type it should have a height equal to the Rangapitha".
>* This clearly indicates that once the artist
steps out from the dressing room, he is on a level which is either same or
lower than that of the lower acting platform. To come to this acting area he
has to cross the passage room (Nepathya Gruha) having too doors, one on either side and hence the
plinth of this room is also of the same level.
The Rangasirsa (upper stage)located
in the centre of the Rangapitha (lower stage) is
raised, hence of a different level. The seating arrangements in the auditorium
are in tiers and each tier is one cubit higher than the other. The first row is
one cubit high from the floor. The spectators enter into the auditorium by one
door. To reach the seating places they to cross-pass
the central zone where the acting area is located. To distinguish the acting
area, on which the spectators should not tread, there must have been some space
around it which was used as spectators passage, though there is no mention of
it.
* Hence it can be assumed that Rangasirsa will be of
eight cubit square and Rangapitha
will be of twelve cubits square. The spectator's passage was of two cubits
space around this spectator's passage will be the seating gallery around.
Natyasastra, while described the specifications for
this square types does not mention details as it has done for the rectangular
type. For the rectangular playhouse Natyasastra
clearly states in Slokas-33 to 35 that:-(Please see
No.6 at page 16.)
'Afterwards he should measure a plot of land sixty four cubits and divide the
same into parts. The part which will be behind him will have to be divided
again into two equal halves. Of these halves one should be the 'Rangasirsa and on the western side of this is the Nepathyagruha'.
Whereas, for the square type of playhouse, Natyasastra
writes only thus, in Slokas 88-89(Please see No.20 at
page 16).
'It should be made perfectly square and divided into requisite parts by holding
the string, and it's outer walls should be made with strong bricks very thickly
set together'.
* These above two are not the same. They stand for two different things
altogether. While 'Vikrsta' (rectangular) theatre
caters for one-sided spectators, the 'Caturasra'(square)
theatre caters for spectators on all sides. Even allowing concessions to the
views of the views of some experts that the pattern a of division might hold
good for both,we find many
points of difference.
A. Eight cubits square of acting area of Rangasirsa become eight cubits by thirty two cubits
rectangular.
B. Centrally located (Abhyantara) acting area becomes
one side acting area.
C. One door from 'Nepathya Gruha'
to 'Rangapitha'cannot be
located or justified.
D. Another door on the opposite side of this door (C) cannot be located of
justified.
E. Still another door facing the auditorium cannot be located or justified.
F. 'Mattavarani' cannot be located or justified.
G. 'Rangasirsa' which is prescribed to be at a higher
level than the Rangapitha as in rectangular playhouse
cannot be located or justified.
H.
The auditorium in tiers becomes too small (when considering the sight
lines of the eight cubits square of acting area) and will hold good for a very
small number of spectators. While facing one side of an acting area of 8
cubits, hardly less than 100 people can be accommodated; it can accommodate
more than 600 peoples if there are four sided spectators around this 8 cubits
square acting area.
I.
Why should somebody spend such a lot and go through 'Sastras'
to entertain
only few.When this theatre is supposed to be for the
commoners or the mass in general. The 'Caturasara'
(square) type playhouse is a playhouse which is the people's real playhouse and
the productions in it are done in the centre, having spectators around. This
matches with the traditional form of common 'Jatra of
Orissa'. Ninety nine percent of Orissa's histrionic arts (if not all) are meant
for presentation in this 'Jatra' style only.
I know that throughout
Adaptations are being done every where and the whole country is influenced by
imported styles.And so it is no wonder why we are
unable to locate our national Indian classical style of mass theatre.
In the guise of modernity, productions of Indian indigenous histrionic arts are
always forced to be adapted to fit into the production methods of the so called
modern theatre, with proscenium, screen, wings etc having spectators on one
side only. This has already done enough damage to our art forms and helped to
bring down their charms.
While theatre halls of many dimensions are plenty every where in
To add to these conditions the influx of cinema and the television has also
come on the way, with the demands of one-sided shooting, acting and viewing
methods.
Until and unless theatre halls are constructed for the round theatre arts or
the common Jatra arts and the cinema and television
mediums adapt the methods of filming or televising our indigenous theatre in
the manner they do for boxing ring sequences, they will not be able to project
the traditional histrionic art forms of the true Indian theatre, in it's
correct perspective.
* The rectangular theatre happens to be a very costly theatre in comparison to
the square theatre. It also accommodates much less number of spectators than
the square. While large rectangular one is prohibited and the small rectangular
one is almost good for nothing as the capacity for spectators is very small,
the only suitable theatre left in the rectangular variety is the middle-sized
one. It belongs to the King.
* Acting involved for one sided spectators is incomplete, superfluous,
unnatural and comparatively less artistic than that for the theatre meant for
all side spectators.
* This square theatre (Caturasra) of Natyasastra therefore, is the ideal legitimate national
classical style of mass theatre for
(28) Natyasastra in Slokas
101-102 states :
'Now I shall speak about the characteristics of the triangular playhouse. By the
builders, a playhouse with three sides and three corners should be built. The 'Rangapitha' should be made triangular and located in the
centre'.
* The word is 'Madhya' and hence, the stage should be centrally located and not
otherwise as some experts opine.
(29) In Slokas 102-103 Natyasastra states :
"In one corner of the triangular
playhouse there should be a door and a second door should be made at the back
of the acting platform".
"Rules regarding walls and pillars prescribed for the square type will be
applicable in case of the triangular type".
* The first door at a corner may be the main entrance. Since it prescribes
another door at the back of the acting platform, it is undoubtedly located
opposite the corner door and so falls at the centre of the opposite side wall.
(Please see illustration).
* Nothing is said about the Nepathya,Rangasirsa
nor 'Mattavarani' which may also mean that these are
not required.
There are sometimes felt as essential as the acting area because the artists
need a room to dress up or rest a while, and they should also have a passage to
move from the dressing room to the acting area during the show.
But.........except Mattavarani, the others can be
eliminated if the production is like the Dhuduki (or Ghuduki), Nabaranga Nata of Orissa and the like shows. The Daskathia of Orissa. the
Pala of Orissa, the Dandanata of Orissa
and such others do not need a Nepathya Gruha, Nepathya nor Rangasirsa for the entire duration of the play. The artists
come in costume, from their place of stay or sometimes dress up and make up in
presence of the spectators and remain there till the show is finished.
* It is therefore quite in order that the triangular playhouse specifically
holds good for productions such as the Daskathia,
Pala, Ghuduki Nata, Dandanata and such others which are very much in vogue in
Orissa and other places even now from time immemorial.
* The views expressed by some experts that this triangular theatre also follows
the pattern of divisions of the rectangular theatre cannot be accepted because
of these following points.
A. The acting platform in the centre cannot be located or justified.
B. The acting platform should also be triangular, which cannot be located or
justified.
C. One door at one corner of the triangle cannot be located or justified.
D. The second door at the back also cannot be located or justified properly.
E. Since no mention is made about the Nepathya, Mattavarani or Rangasirsa as done
for the rectangular and square types, and since there are existing traditional performing
arts which need none of these, we may not try to make unnecessary additions to
the given specifications of the Natyasastra.
F. If followed the pattern of division of the rectangular theatre the
auditorium becomes too small thereby accommodating very small number of
spectators in this triangular playhouse.
G. It will not be worth the cost or the
trouble.
(30) Sloka-104
and the end of chapter two of Natyasastra states:
"These are the rules according to which different play
houses are to be constructed by the learned. Next I shall describe to you the
propitiatory in this connection."
"Here ends chapter-II of Bharatas Natyasastra which treats of the characteristics of a
playhouse."
SUMMING UP
After studying the Chapter-II of the Natyasastra
we form a clear idea about the Prekshyagruha Lakshyana. They can be tabulated as under
:
|
|
A |
|
C |
|
1. Large (Jyestha) |
Cubits |
Cubits |
Cubits |
|
2. Medium (Madhyama) |
64*32 |
64*64 |
64*64 |
|
3. Small (Avara) |
32*16 |
32*32 |
32*32 |
Jyestha of the Vikrsta type
(1A) is directly prohibited because it says so in the Natyasastra,
while describing the medium Vikrsta.
Jyestha of the other two types i.e. Caturasra and Tryasra (1B &
1C) cannot be taken as prohibited because in that case there would not have
been any necessary of mentioning 'Jyestha' at all in
the Natyasastra.
But all types measured in terms of Danda of the given
specification can be considered as prohibited because the smallest amongst them
the Vikrsta Avara (in Danda) will be bigger than even the Vikrsta
Jyestha when measured in cubits because the size will
be 32*4=128 cubits by 16*4=64 cubits. Here the Natyasastra
only records the standards of measure prevailing then and it does not
necessarily mean that we can have or plan these huge sizes. For example the
medium rectangular can either be taken or measured as 64 cubits by 32 cubits or
16 Dandas (because a Danda
is equal to 4 cubits)only.
Rectangular:
While prohibiting the large rectangular,
Natyasastra has specified measurements and all other
requirements of the medium rectangular but has not said anything about the
small rectangular.
The size of small rectangular playhouse would be thirty two cubits by sixteen
cubits. Following the principles of division shown for medium rectangular we
find that the Rangapitha and the Rangasirsa
becomes 8 cubits by 16 cubits each and the Rangamandala
will be 16 cubits by 16 cubits.
Hence the Vikrsta Avara
type is also feasible although it will accommodate only a very small number of
spectators.
It can therefore be concluded that amongst the three varieties both the medium rectangular and
the small rectangular theatres are practicable.
Square:
Natyasastra has indicated the measurements of the
smallest type of square playhouse which is 32 cubits by 32 cubits. I have
already discussed vividly the type or style of playhouse it should be or it
was. Even a similar playhouse of Jyestha type with an
area of 108 cubits by 108 cubits is acceptable because the spectators are all
around and no place in the auditorium is more than the prohibited distance i.e.
64 cubits from the centre as indicated in the Natyasastra
while describing the rectangular playhouse.
Hence it can be concluded that all the three types of square playhouses are
acceptable as per the Natyasastra.
Triangular
:
Natyasastra says 'triangular' but does not tell us the
measurements as it has done for the other two. This means we do not know
whether it meant large, medium or small.
As in the case of square type, since the acting area is in the centre, it will
be seen that even the largest triangular playhouse is acceptable because no
place in the auditorium is more than the prohibited distance i.e. 64 cubits
from the centre. Hence it can be concluded that all types of triangular
playhouses are acceptable as per the Natyasastra.
Thus it gives the total of only eight types of playhouse.
|
1. |
The Medium Rectangular(Madhyma Vikrsta) |
........ |
64*32 cubits. |
|
2. |
The Small Rectangular(Avara Vikrsta) |
......... |
32*16 cubits. |
|
3. |
The Large Square (Jyestha-Caturasra) |
.......... |
108*108 cubits. |
|
4. |
The |
......... |
64*64 cubits. |
|
5. |
The |
........... |
32*32 cubits. |
|
6. |
The Large Triangular(Jyestha Tryasra) |
........... |
108*108 cubits. |
|
7. |
The Medium Triangular (Madhyama Tryasra) |
.......... |
64*64 cubits. |
|
8. |
The Small Triangular(Avara Tryasra) |
.......... |
32*32 cubits. |
THE MATTAVARANI 
RECTANGULAR THEATRE : (Mattavarani)
We know that the Mattavarani is the side room or
rooms where admission is prohibited and it is projected out of the prescribed
area. The Middle rectangular theatre has been prescribed to have one on each
side of the Rangapitha. Each Mattavarani
is to have four pillars.
Although Natyasastra does not prescribe any for the Rangasirsa we have got it at the Rani
Gumpha theatre and although the measurements of these
do not match either for the size or for the number of the pillars on them with
those of the Rangapitha they are there and call them
in any name, they are nothing but
side rooms projecting out of the prescribed area, hence Mattavarani,(Please
see details on images).
SQUARE THEATRE : (Mattavarani)
In case of square theatre the Mattavarani is also
located outside the specified area but not by the side of the Rangapitha. Although Natyasastra
prescribes four pillars as that of the Rectangular type, it further states
about the plinth which should be of equal or lower level than that of it's Rangapitha. I have already explained this before.
TRIANGULAR THEATRE : (Mattavarani)
For the Triangular theatre, Natyasastra has not
prescribed any Mattavarani hence this may not be
considered as a must to follow the prescribed rules laid for Vikrsta or Caturasra types.
Realising its utilities, we admit its existence.
(Please see illustration).
PILLARS AND NAGADANTAMS
All the pillars of the Nepathya Gruha
of Rectangular theatre had a pair of Nagadantams
(brackets)at the capital. One of these brackets is
inwards and the other outwards. This brings us a series of double brackets from
one end to the other, on pillars of the Nepathya Gruhas of Rangasirsa of
Rectangular theatre. Pillars of the Nepathya Gruha of Rangapitha of
Rectangular theatre have one Nagadantam each at the
capital on the front side only.
There is no evidence that the pillars of the Mattavaranis
of Rangapitha (both right side and left side) had any
Nagadantam at their capitals, in the Ranigumpha theatre.
These are either completely damaged or there was some other arrangement to
serve their functions.
While on the pilasters of the right Mattavarani of Rangasirsa of Ranigumpha theatre
the sockets are visible, there is no Nagadantam on
the pillar of the left Mattavarani of Rangasirsa of Ranigumpha theatre.
Pillar with a pair
of Nagadantams at the capital.
Rod or Dharana (wooden beam)used to be passed through
these in a row and curtains and drapery used to be hung on them forming a partition.Thus behind this partition of the Nepathya Gruha we have separate
rooms with verandah and bench.
NEPATHYA GRUHA
RECTANGULAR THEATRE : (Nepathya)
Natyasastra prescribes Nepathya
Gruha at the back side (western side) of the Rangasirsa and we have got it at the Ranigumpha
theatre, as required. Although no specifications have been stated as regards
the size, height or number of pillars etc., we find a row of 4 rooms (8
openings) and 11 pillars (including pilasters)in front
of these,throughout the breadth of the western
portion of the prescribed area. They from the Nepathya Gruhas of the Rangasirsa.
Although Natyasastra
has not prescribed any Nepathya Gruha for
the Rangapitha,
the Ranigumpha theatre does have it. A row of 4 rooms (8
openings) with 8 pillars (including pilasters) in front of these (pillars are
no more there) form the Nepathya Gruha of Rangapitha. The entire block with 4 rooms and 8 pillars
(including pilasters) do not form any extra area because these are located just
under the Rangasirsa hence form a part of the area of
the Rangasirsa and thereby outside the area of the Rangapitha.
Natyasastra describe two doors for the Nepathya Gruha of the Rangasirsa. These two doors were not located on the same
direct axis of the landings of the Sad-Darukas, but
were located between the first two pillars and last two pillars of the Nepathya Gruha of the Rangasirsa.
All the pillars in front of the Nepathya Gruha of Rangasirsa had a pair of
Nagadantams (brackets)at the
capital.
Two rows of wooden beams used to pass through these brackets on which the
curtains hung, forming complete back drops.
The frontages of the Nepathya Gruhas
were also being decorated with flowers, garlands etc as on the Mattavaranis, during the days of performance. And behind
the curtains we have a row of separate rooms, a narrow but long verandah and a
full length bench. It is assumed that two doors for the Nepathya
Gruha of Rangapitha were
located nearer the bases of the Sad-Darukas or the
staircases.
SQUARE THEATRE :(Nepathya Gruha)
The Nepathya Gruha in the
square theatre forms a part of the prescribed area as against the Mattavarani which is the side room projecting out of the
prescribed area.
As per the details given at No.23 the Nepathya of
square theatre falls between the Mattavarani and the Rangapitha in between the spectators
gallery. This room only a passage room for the artists where they wait till
their roles come and noises, froms disturbances,
callings and the like are done in this passage room just as in the rectangular
theatre. The word "Nepathya"(passage)
justifies its' meaning in the case of only the square theatre since it really
falls on the way of the artists from the dressing room to the acting area.
It is the square theatre which is the oldest form of theatre evolved out of
natural necessities of peoples.
In a rectangular theatre, where the acting involved are mainly one-sided,
series of caves in the background surely helps in the acoustics, as found in
the Ranigumpha theatre.
It could be that while evolving the design for an intimate type of rectangular
theatre as a sort of novetly,the
rooms were introduced to serve multipurpose i.e. euphony, artists waiting as
well as a background. These rooms, although really do not form the Nepathya or passage, bore the name perhaps from the
previous use of the term from the square theatre.
TRIANGULAR THEATRE (Nepathya Gruha)
Natysastra has not prescribed any Nepathya
Gruha for this theatre and I have also discussed that
this Nepathya Gruha is not
a necessary for many forms of histrionic arts. But then the entry or exit
passage itself is the Nepathya though not a room or Gruha.
MATTAVARANI AND
NEPATHYA GRUHA
It is in the Mattavarani the artists do their
dressing, make-up or retire. Once they come out they go to the Nepathya Gruha and wait until
their roles come.
In the rectangular theatre both Mattavaranis and Nepathya Gruhas are rooms
complete with verandah, bench and pillars. Only the number of
rooms vary. Hence Nepathya Gruhas
of the rectangular theatre could also be used as dressing or retiring rooms.
Except Nepathya Gruha of Rangasirsa of rectangular theatre, Nepathya
Gruhas always form a part of the prescribed area. The
Mattavaranis are always located at the sides
projecting out of the prescribed area.
Nepathya Gruhas of
rectangular theatre are regular apartments consisting of number of rooms. These
could be used as back grounds in a play. But in square theatres they are just the
passage rooms, with doors on both sides.
RANGAPITHA
The Rangapitha in all the theatres is a part of the
acting area. While the Rangapitha of the rectangular
theatre is located on one side of the auditorium facing spectators on one side,
the Rangapitha of the square theatre and triangular
theatre face all side spectators (four sides in square and three sides in
triangular).
Both in rectangular and square theatres the Rangapithas
are the lower acting areas whereas in triangular theatre this is the only
acting area because there is no mention of Rangasirsa
prescribed for the triangular theatre. The plinth of the Rangapitha
in rectangular theatre is lower than that of it's Mattavarani,
but in the square theatre this is either of the same level or can also be
higher if required(as explained in 25 and 26 .
RANGASIRSA
The Rangasirsa in both the square theatre and
rectangular theatre is the upper stage forming the main acting area.
In both theatres the plinth of Rangasirsa is higher
than the plinth of Rangapitha.
While in the rectangular theatre the Rangasirsa is
located behind the Rangapitha. It is located in the
centre of the Rangapitha in the square theatre.
In rectangular theatre the area of the Rangasirsa is
equal to the area of the Rangapitha. In square
theatre it is less than the area of the Rangapitha.
While in square theatre the plinth of Rangasirsa is
little higher than the plinth of the Rangapitha which
enables artists to step on easily on to that, in case of middle rectangular
theatre the Rangasirsa is ten feet higher than the
plinth of the Rangapitha, thereby necessitating the use of staircases on
both sides, the Sad-Darukas.
SAD-DARUKA
These are the stair-cases used for connecting the Rangapitha
and Rangasirsa which are located in two different
levels in the rectangular theatre. The Rangasirsa is
ten feet high up than the Rangapitha in the middle
rectangular theatre as established from the Ranigumpha
theatre.
These Sad-Darukas are made of six pieces of wood, two
at the sides and four in the middle. In Ranigumpha
theatre, the special landing on which the Sad Darukas
rested on the Rangasirsa are
about four feet lower than the floor of the Rangasirsa
which leaves an ascent of six feet only. Leaving equal space from the foot and
the top of the staircase, we find four steps are just necessary to move up and
down. Hence four wooden steps were used in these Sad-Darukas.
After going up on the Sad-Daruka the artists walk
straight on the sides of the Rangasirsa to reach the
locations of the doors of the Nepathya Gruha of Rangasirsa of Ranigumpha theatre.
DOORS
RECTANGULAR THEATRE (Doors)
For the Nepathya Gruha of
the Rangasirsa of the rectangular theatre, two doors
have been prescribed.
For the Nepathya Gruha of
the Rangapitha, we can accept two doors in the same
way and although no doors have been prescribed for Mattavarani,
we can accept one door for each.
Natyasastra mentions 'Niryuhas'
which are doors and the doors can be entry or exit doors for spectators,
separate door for artists and materials, separate doors for guests and other
V.I.Ps located at different places of the play house.
SQUARE THEATRE (Doors)
There are three doors prescribed for the small square theatre and I have
specified the locations of these doors.(please see 23)
TRIANGULAR-THEATRE(Doors)
There are only two doors prescribed for the triangular theatre, the locations
of which I have already specified. (Please see 19 )
WINDOWS
GABAKHSYAM-(VATAYANAM)
While no particular locations have been specified for windows in the play
house, the mention of mechanised latticed windows (Yantrajala Gabakhsyam) in the
medium rectangular theatre has been made.
While describing this play house, that it should be like a mountain cavern with
two floors, Natyasastra; writes that it should also
have small windows and be free from wind in order to have good acoustic
quality. I assume that most of these windows were located high-up on the walls
of the auditorium, which could be shut by operating strings when desired.
This arrangement of small windows high-up around the walls would also hold good
for square and triangular playhouse.
*****************************************************************************************************
BY THE
WAY
Natyasastra of Bharata Muni
prescribed only three types of plots of land over which playhouses are to be
constructed. They are the Vikrsta (Rectangular), Caturasra (square) and the Trysra
(Triangular).
'Silpasastra', another very ancient and a great
treatise which deals with construction of houses and temples etc gives the
description of sixteen types of plots of land available for any construction
purposes. Silpasastra also predicts the fate to
follow when you erect something on the particular type of plot of land chosen
by you.
The following table gives the nature of fate to follow when you erect something
on these sixteen types of plots according to the Silpasastra.
|
Nos. |
Names |
English |
Results |
English |
|
1. |
Ayatam |
Rectangular |
Sidhyatesarvam |
All desires. |
|
2. |
Caturasram |
Square |
Dhangamah |
Wealth increase. |
|
3. |
Chhatram |
Umbrella shape |
Pritivivardhin |
Good-wil increase. |
|
4. |
Bhadrasanam |
Rotund |
Krutarthinah |
Success. |
|
5. |
Chakram |
Hexagonal |
Daridra rogam |
Poverty-sickness. |
|
6. |
Vishamavahu |
Uneven |
Shoken |
Sorrows. |
|
7. |
Trikonam |
Triangular |
Raj-bhiti |
Fear of king. |
|
8. |
Sakatakrutim |
Cart-shape |
Dhanakhsyaya |
Loss of wealth. |
|
9. |
Dandam |
Rod-shape |
Chowra nasyanti |
Liquidation of theft. |
|
10. |
Pranavam |
Cleaved |
Netranasanam |
Loss of eyes. |
|
11. |
Sumuartikam |
Embodied |
Mriyate bharya |
Death of wife. |
|
12. |
Guhadam |
Cave |
Sukha nasanam |
Loss of happiness. |
|
13. |
Vyajanam |
fantype |
Vittanasanam |
Loss of wealth. |
|
14. |
Kurmakam |
Tortoise-shape |
Dhanalabham |
Gain of wealth. |
|
15. |
Dhanurakaram |
Bow-shape |
Chourabhayam |
Fear of theft. |
|
16. |
Suryam |
Sun-shape |
Daridrata |
Poverty. |
Out of the sixteen types of plots, Bharata Muni prescribed only three types and according to
the Silpasastra we find that they bring forth the
following results.
|
1. |
Rectangular |
: |
All desires fulfilled............ |
Good |
|
2. |
Square |
: |
Wealth increases.............. |
Good |
|
3. |
Triangular |
: |
Fear of King.................... |
Not bad |
Fate resulting out of construction of a playhouse on a triangular plot of land
is "not bad" because "fear of King"is
neither a vice nor a misfortune in comparison to loss of wealth, loss of eye sight, death of wife, loss
of happiness, fear of theft, sorrow etc.
We also know that Avara, the smallest size of plot prescribed for
playhouse is meant for the rest of the people .While Jyestha
or large one is for Gods, the Madhyama or the
middle-sized one is meant for the kings.
When it is for the Gods, fear of king or any fear for that matter is naturally
not involved and when it is meant for the king it is the kings own creation and
hence fear of self is not affected.
And then we know that to live and flourish in a kingdom the king's patronisation is the main source of development of one's
culture. And so, to have fear of king is rather to mean loyality
which in other words would ensure better subsidies and encouragements to the
institution.
So triangular theatre is
not bad and hence also good.
One thing which occurs to mind is that excluding the above three, there are the
other following types which also bring good results.
|
1. |
Chhatram |
Good will increase |
|
2. |
Bhadrasanam |
Success. |
|
3. |
Kumakam |
Gain of wealth. |
|
4. |
Dandam |
Liquidation of theft |
Why did Bharata Muni not prescribe
these types of playhouses in his text ?
Although we do not find them in the text of the Natyasastra
we have them at the site around the Ranigumpha
theatre of Udayagiri. While the Apsidal catara atop Udayagiri is of the
shape of 'Kurmakam', the sites of Tatwa
Gumpha No. 1 and No. 2 resemble to be of 'Dandam' and 'Bhadrasansam' respectively
and the Patalika Catara is
of the 'Chhatram'variety meant for developing good-will
amongst his subjects.
Whatever the size or shape of the plot it may be, the demands of the presentation
of all historic arts need only four types of playhouses and these can be
classified as under :
1. Playhouses meant for one side spectators arrangements.
2. Playhouses meant for two sides spectators arrangements.
3. Playhouses meant for three sides spectators arrangements.
4. Playhouses meant for four or all sides spectators arrangements.
While sizes of the theatre would vary according
to the demands on the capacity of the auditorium desired, the stage designs
would also vary according to the demands of the type of programs to be enacted
on them as well as number of artists expected to appear on stage at a time.
As for example, a solo dance meant for entertainment of fifty people would look
ridiculous if presented in a theatre meant for one thousand spectators. Similarly
engaging a full theatre regularly for conducting rehearsals is also a waste
because while the entire acting area is required in a rehearsal, the entire
auditorium remains unutilised.
Kharavela an exponent of all theatre-arts himself, had
known all these practicalities and so he built up all types of theatre around
and stopped at his favorite site, the Khandagiri and Udayagiri hills.
And accordingly some of the structures cut in caves around these hills, if not
all, like the Ananta Gumpha,
Tatwa Gumphas, Ganesh Gumpha etc.,were
the Mattavaranis or the side rooms of no admission, each
belonging to a Catara or Jathara
or Jatra-the Theatre.
While the Patalika Catara
juxtaposed between two hills at the base, the Apasidal
Catara atop and Ganesh Gumpha, Ranigumpha at different
levels in Udayagiri and the Ananta
Gumpha,Tatwa Gumpha,No. 1 and No. 2 at different heights of Khandagiri, we have a Theatre-complex at the site
consisting of a chain of theatre of different sizes and types located at
distinctly different levels-different levels for not causing disturbance of one
to the other.
With Dapa-Nata-Gita-Vadita-Usava,Samaja
talking place simultaneously in every
theatre...................well.........................one can imagine the
super master mind that created this Jatra Samyukta (Theatre-complex) of Gandhava
Veda Budho Maha Meghavahana Kalingadhipati Aira Sri Kharavela.
Natyasastra of Bharata Muni, the most
ancient treatise on Indian dramaturgy has devoted one complete chapter (the
second chapter) for the construction of a play house.This
chapter,besides giving
details of decorations,propitiatory ceremonies and
the different types of theatre designs,clearly
prescribes their specifications i.e. dimensions, number of pillars,height
of the plinth etc, for all sections of the playhouse.
Shri Manmohan Ghosh,who has translated the Natyasastra into English, in his introductions(page
ii),under caption 'The Playhouse or the Theatre' states, "The N.S.
describes various types of playhouse, and their different parts have been
mentioned to some extent in detail.But in
the absence of evidence of evidence the like of which has been copiously availble in case of the Greek theatre, it can not be said how far the ancient Indian plays were
performed in specially constructed theatres" etc. Again he wites in the notes on page ii,10,"Except the cave (C.
200 B.C)in Ramgarh hill suspected by Bloch to have
been the remains of a theatre,there is no
other evidence of the existenceof a playhouse in
ancient India,"etc.
Mr.A.B. Keith in the book' The Sankrit
Drama,'writes in page 358:
"...............But
we have from second century B.C., the remains of a cave which seems to bave been used, if not for the performance of plays, at any
rate for the purpose of recitation of poems of some similar end. It is found in
the Ramgarh hills in Chota
Nagpur and although it is quite impossible to prove that it had anything to
do with plays"etc.
Dr.C.B. Gupta in his book 'The Indian Theatre' writes
(Chapter XII, Epilogue,page
178)
"...........all
support the view that theatres were of a permanent nature,but as we do not be define about this"etc,
Likewise all
experts on Indian dramaturgy, through-out times, have tried to give a picture
of the designs of the classical Indian theatres from their own interpretations
because of the so-called established idea that there is no existing specimen
of the ancient Indian theatre available any where in
the country.
In the friezes
over some of the caves of Khandagiri and Udayagiri of Bhubaneswar many historians decipher the
representations of mass entertainment but except Mr.Charkes
Fabri, who once suggested the double-storeyed Ranigumpha supposod to have been a semi-format theatre,it has always been accepted by one and all as a
monastery in Jain and Buddhist times.
I am interested
in theatre and theatre and arts from my early childhood but until 1959/60 when
I was a student of the Bombay Natya Academy, I was
not very much conscious about the theatres described in the Natyasastra.
It was from the lectyes ib
eastern theatre from my Guru, Prof.C.C.Mehta (who
used to come to Bombay from Baroda to teach us),I came
to be interested in the classical Indian theatre. The description of the
"double storeyed mountain caven
like" flashed in my mind and I recollected the Ranigumpha
of Udayagiri hills of Bhubaneswar at once on which on
several occasions, in the past I had daced,jumped,recited
and acted spontaneously while on sight-seeing excursions during my school and
college days, out of queer curiosity at the topography of the site.
Back in Orissa,
I had pursued my keen interest in it and the result is what is in your hand
now.
I am neither
proficient in Sanskrit nor Prakrut or Pali languages.Similarly I am not
a historian also. Hence in trying to interprete the
concerned words from the Hatigumpha inscriptions or
to understand a chapter from the Natyasastra, I have
always reffered to the translations and commentaries
written on these texts in Hindi,English
or Oriya by different personalities. Most of the English translations of the
Sanskrit Slokas of Natyasastra
I have quoted in this book are either from the translations from Shri Manmohan Ghosh
or from Shri Banamber Acharya.Where-ever I have differed, I have made a mention.
It is
heartening to find that in India, more and more institutes of learning are
coming up for music, dance and drama turning out many students every year. But
it is equally surprising to find that while the institutions on dramatics are
stressing more on the so-called modern theatre which is nothing but an imitaion of the western theatre. Being a theatre-man I have
attemped to convey my line of thinking on the subject
and I will surely feel happy if my book provides some food for thought to those
who think of Indian theatre at large,in
our country or abroad.
I gratefully
acknowledge the blessings from my teacher Prof. C.C.Mehta
from Baroda.
I am very much gratefull to Shri A.N.Tiwari, I.A.S. for encouraging me in my endeavours from
time to time and being kind enough to write the preface of this book.
I am alsovery much grateful to Shri P.L.Despande who was kind enough to write the introduction
for my work.
I am obliged to
the Director,Cultural
Affairs, Orissa for granting me a subsidy towards this publiction.
I am indebted
to Shri Mayadhar Panda for
the architectural and other drawings, to Sri Durga Charan Panda for the illustrations and photographs, to Sri Natabar Das for photographs,to Shri Dinanath Pathy for the cover design,to Shri Golak Prasad Singh,Shri Nagbhusan Pattanaik,Shri Bhagaban Panda for helping me in the proof reading.
I am very much
thankful to Sri Jagadish Pani
and all his colleagues of Kwality Press who have
taken special care to bring-out this publication in the best possible manner.
My thanks are
due to all my friends but for whose advices, encouragements and assistancec even this small work of mine would not have
seen the light of the day.
And lastly I thank my dear readers to bear with me the deeds of the
devil.
