Theatre and Its Other

What is Dance? What is Theatre? What is the boundary between

enacting a character and narrating a story? When does movement

become tinted with meaning? And when does beauty shine alone

as if with no object? These universal aesthetic questions 􀆧􀆬nd a

theoretically vibrant and historically informed set of replies in the

oeuvre of the eleventh-century Kashmirian author Abhinavagup...

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What is Dance? What is Theatre? What is the boundary between

enacting a character and narrating a story? When does movement

become tinted with meaning? And when does beauty shine alone

as if with no object? These universal aesthetic questions 􀆧􀆬nd a

theoretically vibrant and historically informed set of replies in the

oeuvre of the eleventh-century Kashmirian author Abhinavagupta.

The present book o􀆦fers the 􀆧􀆬rst critical edition, translation, and

study of a crucial and lesser known passage of his commentary on

the Nāṭyaśāstra, the seminal work of Sanskrit dramaturgy. The

nature of dramatic acting and the mimetic power of dance,

emotions, and beauty all play a role in Abhinavagupta’s thorough

investigation of performance aesthetics, now presented to the

modern reader.

Preface ix
Introduction 1
1 Nāṭyaśāstra and Abhinavabhāratī: Trends and Open Questions 14
1.1 Editorial History and Textual Reception 15
1.2 Archiving Performance: Texts and Images 19
1.3 The Nāṭyaśāstra and the Place of Dance 26
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Preface ix
Introduction 1
1 Nāṭyaśāstra and Abhinavabhāratī: Trends and Open Questions 14
1.1 Editorial History and Textual Reception 15
1.2 Archiving Performance: Texts and Images 19
1.3 The Nāṭyaśāstra and the Place of Dance 26
1.3.1 Composition, Authorship, and Date 26
1.3.2 Narrative Structure 31
1.3.3 The Tāṇḍavādhyāya 35
1.4 The Abhinavabhāratī: A Medieval Document on Performance 47
1.4.1 The Many Voices Recorded in the Chapter on Dance 55
part 1
Practice and Aesthetics of Indian Dance
2 Formalizing Dance, Codifying Performance 63
2.1 Nāṭya, nṛtta, and nṛtya between Movement and Mimesis 65
2.2 Dance as Technique: aṅgahāra, karaṇa, recaka 76
2.3 Between Gender and Genre: tāṇḍava, sukumāra, lāsya 89
2.3.1 Grace and Vehemence in the Nāṭyaśāstra 91
2.3.2 Grace and Vehemence in the Abhinavabhāratī 95
2.4 Expanding the Idea of nṛtta 105
2.5 Tradition, Creativity, and Artistry: A Śaiva Perspective 111
3 The Aesthetics of Dance 128
3.1 Dance within Theatre, Dance without Theatre 132
3.2 Enacting Emotions: A vademecum for the Actor 139
3.3 Communication without Words 148
3.3.1 Dramatic Mimesis vs Imitation 162
3.4 Dance, Beauty, and the Fabrication of Dramatic Fiction 174
3.4.1 On the Psychagogic Power of Dance 176
3.4.2 Like a Fire-Wheel: Dance and Fiction 183
3.5 Reshaping the Idea of abhinaya in Dance 201
part 2
Critical Edition and Annotated Translation of Abhinavabhāratī
ad Nāṭyaśāstra 4.261cd–269ab
4 Introduction to the Edition 215
4.1 General Remarks on the Transmission of the Abhinavabhāratī 215
4.2 Genealogy of the Present Text: The Sources 219
4.2.1 Editions 219
4.2.1.1 The Baroda or Gaekwad Edition (= E1) 219
4.2.1.2 The Madhusudan Shastri Edition (= E2) 229
4.2.1.3 The Nagar Edition (= E3) 229
4.2.1.4 The Dvivedi Edition (= E4) 230
4.2.2 Manuscripts 230
4.2.2.1 Manuscripts Containing the Fourth Chapter 233
4.2.2.2 Relationship between the Manuscripts 241
4.3 A Note on the Sanskrit Text and Translation 247
4.4 Symbols and Abbreviations in the Apparatus 249
Analysis of ABh ad nś 4.261cd–269ab 251
Edition and Translation: Abhinavabhāratī ad Nāṭyaśāstra
4.261cd–269ab 260
Appendix: Hemacandra’s Kāvyānuśāsana 379
Bibliography 383
Index 406
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