Elements of Indian Drama: Abhinaya, Rūpakas, and Uparūpakas

Vocabulary terms and definitions related to the elements of Abhinaya, the ten Daśa Rūpakas (major dramas), and the eighteen Uparūpakas (minor dramatic forms) as described in Bharata's Nāṭyaśāstra and subsequent treatises.

Abhinaya

The art of expression in theatre governed by three core elements: Dharmi, Vṛtti, and Pravṛtti.

Dharmi

The modes of presentation or styles of representation used in theatre, categorized into Nāṭya-dharmi and Loka-dharmi.

Nāṭya-dharmi

A theatrical or conventional style that is stylized, poetic, and symbolic, using codified gestures rather than realistic mimicry.

Loka-dharmi

A realistic style of presentation that mimics natural, everyday behavior, speech, and interactions.

Vṛtti

The dramatic style or 'flavour' of a play based on theme, mood, and audience; Bharata outlines four types.

Bhāratī Vṛtti (Kāyasthā Vṛtti)

Focuses on dialogue, wit, and philosophy; frequently used in serious or court dramas.

Sāttvatī Vṛtti

An energetic/spiritual style emphasizing nobility, valour, and idealism, often used for epic or divine themes.

Ārabhaṭī Vṛtti

An action-based style full of movement, war scenes, and conflicts; suited for physically intense plays.

Kaiśikī Vṛtti

A graceful and delicate style focusing on beauty, romance, and refinement; often used in dance-dramas and love stories.

Pravṛtti

Regional styles or cultural variations in drama that influence language, costume, and behavior based on geographical zones.

The Four Pravṛttis

Āvantī (Central India), Dakṣiṇātya (Southern India), Pāñcālī (Northern India), and Oḍramāgadhī (Eastern India).

Rūpaka

A general term for a drama or play, classified into ten foundational types known as the Daśa Rūpakas.

Uparūpakas

Minor dramatic forms or sub-genres where music and dance are dominant mediums of expression, often appearing as one-act plays.

Nāṭaka

A grand heroic play with $5$ to $10$ acts, featuring a Dhīrodātta (noble) hero and themes of royalty or divinity.

Prakaraṇa

A social drama with an invented plot based on realistic human experiences, featuring a Dhīra-prāśānta (calm) hero such as a merchant or minister.

Samāvakāra

A mythic ensemble drama with multiple themes and a maximum of $12$ characters, typically involving gods and demons.

Īhamṛga

A mythical quest play in $4$ acts, often involving a battle or pursuit for a divine woman triggered by jealousy or emotional turmoil.

Ḍima

An epic battle play in $4$ acts based on mythology, featuring $16$ noble characters and excluding Śṛṅgāra (romance) and Hāsya (humor).

Vyāyoga

A one-act heroic conflict drama centered on male roles and martial themes, with the entire plot unfolding within a single day.

Anka (Utsṛṣṭikāṅka)

A one-act, pathos-filled drama dominated by Karuṇa Rasa (the sentiment of pathos) and depicting suffering or loss.

Prahasana

A form of comic drama or farce rich in ridicule, wordplay, and satire, primarily dominated by Hāsya Rasa (the comic sentiment).

Bhāṇa

A solo monologue drama enacted by a single actor (usually a Vita/gallant) who speaks to imaginary people using ākāśabhāṣita.

Vīthī

A short, one-act dialogue play performed by $2$ or $3$ actors (Uttama, Madhyama, Adhama) incorporating wordplay and wit.

Padārtha Abhinaya

Word-level meaning in Abhinaya, characteristic of Uparūpakas rather than the sentence-level Vākyārtha Abhinaya found in Rūpakas.

Nibaddha and Anibaddha

Nibaddha refers to structured dances bound by rules and rhythmic patterns, while Anibaddha refers to spontaneous, unstructured dances.

Nāṭikā

An Uparūpaka with an invented plot, a royal hero, and $4$ acts, dominated by Kaiśikī Vṛtti and Śṛṅgāra Rasa.

Troṭaka

An Uparūpaka in $5$, $7$, or $9$ acts involving interactions between gods and humans and featuring a Vidūṣaka (comic companion) in every act.

Sāṭṭaka

A variant of Nāṭikā composed entirely in Prākṛta, where act divisions are called Javanikāntaras (curtain transitions).

Nāṭyarāsaka

A one-act dance-ballet production with complex time patterns (bahutālayaśṛti) focusing on erotic and comic sentiments.

Prasthāna

A two-act performance featuring slave or servant protagonists and the mimicry of animal movements, such as the gait of elephants.

Ullāpya

A one-act drama characterized by intense fighting and Āsragitā (background music performed offstage).

Kāvyā / Citra-Kāvyā

A musical one-act comedy; it is called Citra-Kāvyā if it includes a variety of melodic modes (rāgas), such as the Gīta-Govinda.

Saṁlāpaka

A $3$ or $4$ act play featuring a non-conformist hero and emphasizing sentiments like Raudra (fury) or Bībhatsa (disgust).

Śrīgaḍita

A one-act mimic dance-drama centered on love in separation and the frequent invocation of the goddess Śrī (Lakṣmī).

Durmallikā (Durmallī)

A solo dance-drama comprising $4$ acts of specific durations ($3$, $5$, $6$, and $10$ Nāḍikās) featuring characters like the Vita and Vidūṣaka.

Nāḍikā

A unit of time used in Samavakāra and Durmallikā; one Nāḍikā is roughly equivalent to $24$ minutes.

Halliśa (Hallisaka)

A one-act folk performance characterized by music and dance performed in a circular formation.