Phases

After understanding this basic nature of Indian theatre, we can elaborate further on its development in India. Roughly it can be divided into three distinctive phases: the classical period; the traditional period and the modern period.

Phase I includes the writing and practice of theatre up to about 1000 A.D., almost based on rules, regulations and modifications handed by Natya Shastra. They apply to the writing of plays, performance spaces and conventions of staging plays. Playwrights such as Bhasa, Kalidasa, Shudraka, Vishakhadatta and Bhavabhuti contributed in a great measure through their dramatic pieces in Sanskrit. They based their plots on sources like the epics, history, folk tales and legends. The audience was already familiar with the story. Therefore, a theatre language required a visual presentation through gestures, mime and movement. The actor was supposed to be well-versed in all the fine arts. In a way, it was a picture of total theatre. The noted German playwright and director, Brecht, evolved his theory of ‘Epic Theatre’ and concept of ‘Aliegnation’ precisely from these sources.

Phase II involves that practice of theatre which was based on oral traditions. It was being performed from about 1000 A.D. onwards upto 1700 A.D. Even today it continues almost in every part of India. Emergence of this kind of theatre is linked with the change of political set up in India as well as the coming into existence of different regional languages in all parts of the country. As the languages themselves were taking their birth around 1000 A.D. it was too early to expect any writing in those languages. That is why this whole period is known as folk or traditional, i.e., theatre being handed over from generation to generation through an oral tradition. Another major change also took place with this kind of traditional theatre.

The classical theatre which is based on Natya Shastra was much more sophisticated in its form and nature and totally urban-oriented whereas this traditional theatre evolved out of rural roots. Though other elements of theatre remained almost the same, i.e., use of music, mime, movement, dance and narrative elements. This later theatre was more simple, immediate and improvisational even to the extent of being contemporary. Morever, whereas the classical theatre was almost similar in its presentation in all parts of India at a particular time, the traditional theatre took to two different kinds of presentational methods - all the folk and traditional forms in northern India are mainly vocal, i.e., singing and recitation-based like Ramlila, Rasleela, Bhand Nautanki and Wang without any complicated gestures or movements and elements of dance.

Phase III is again linked with a change in the political set up in India —— this time an outside force coming from the West. The time span of about 200 years under the British rule brings the Indian theatre into direct contact with the western theatre. For the first time in India, the writing and practice of theatre is geared fully towards realistic or naturalistic presentation. It is not as if realism or naturalism was totally absent in our tradition. It was always present as also envisaged in Natya Shastra through concepts of Lokdharmi, i.e., a style of presentation

connected with day-to-day gestures and behaviour and Natyadharami, - i.e., a style more and more presentational and theatrical in nature. But the stories used were invariably from the same sources. In the modern theatre the story also changed its nature. Now it is no more woven around big heroes and gods, but has become a picture of common man.

In a way this is the complete picture of the Indian theatre from the ancient time up to the present. As we have already seen, the theatre in contemporary India is a combination of the three different phases of its evolution illustrated in its historical perspective. But it has never been professional in the true sense of the world, i.e., people have not been entirely dependant on the theatre for their livelihood right from the beginning. Though it seems that the theatre in India has been a continuous activity,yet in reality it has not been so. It has always been a part of festivals or such other occasions which are related to entertainment. At the most, theatre used to be performed between October and March - only for six months even by the so-called commercial or professional companies.

In the rest of the year, the people remained engaged either in agriculture or other vocations. This kind of set up creates a big problem for the Indian theatre. It has not yet become a part and practice of our life as in the West. Even in States like West Bengal and Maharashtra, where theatre is very prolific, none of the performers is totally devoted to the theatre. They are involved in some job or the other during daytime and only in the evenings they come to rehearse or perform. The concept of professional repertory companies in India is a recent one. How can theatre become a profession for an Indian actor and theatre worker? This is the biggest question. How can it provide him his bread and butter as well as opportunities to practise his art?