The paper underscores the teleological perspective of the historical process of Indian drama from its inception to its logical culmination. It unravels the development and ramifications of Bengali drama by juxtaposing it with the popular culture of the region. The paper puts an emphasis on the regional paradigm of drama by interlacing 'orient' and 'occident' influences. It prioritizes and discerns two-fold model of Bengali drama that is hitherto not emphasised by the scholars. The first segment was the nascent stage of Bengali drama. It explains the development of Bengali drama at the intersection of Greek and Sanskrit influences. The second section was the stage of maturation of Bengali drama. It explicates the amalgam of English and Russian influences for the formation of a new style of drama in Bengal. The paper unfolds the project of internatiolization and scientific modification of a regional art.
Table of Contents
Introduction
Battle of opinions over Evolving Drama
Historicity of Bengali drama
Sanskritization of drama
Emergence of the British era
Drama: Etymology
Stratification of Bengali Drama
Gitika
Jatra Pala
Theatre
Research Objectives and Themes
This paper explores the historical development and evolution of Bengali drama, tracing its path from ancient traditional roots to the impact of modern Western influences. The primary goal is to examine how regional art forms in Bengal underwent a "scientific" and international modification through a dual model of cultural intersection, blending classical traditions with European theatrical styles.
- The historical trajectory of Bengali drama from ancient to modern times.
- The intersection of indigenous Sanskrit traditions with Greek, English, and Russian influences.
- The significance of folk art forms like Gitika and Jatra Pala in shaping regional identity.
- The transition from traditional performance spaces to the modern proscenium stage.
- The role of key historical and cultural figures in the development of Indian theater.
Excerpt from the Book
Jatra Pala
The Bengali word ‘jatra pala’ means Bengali opera that has a mesmeric hold over the imagination of the theatre enthusiasts. The development of jatra pala is not an overnight phenomenon. It is occasioned by a neat sequence of historical circumstances. The 15th century Bhakti movement spawned conditions for the development of jatra pala or Bengali opera. Both gitika and jatra pala developed within a specific regional ambit. The Bengal presidency was the cultural nerve-centre that supported the maturation of ‘micro-regional trends’ of drama. It was during the Bhakti movement jatra pala or Bengali opera originated and gained a new dimension. Lord Sri Chaitanya was the paladin of jatra pala or Bengali opera in the region of West Bengal. The histrionic, fine gestures, music and dance etched a profound impression on the Bengal audience. Lord Sri Chaitanya popularized the medieval spiritual paradigm, which is interpreted as ‘kirtan’ or ‘sankirtan’. ‘Kirtan’ signifies congregational singing of divine mantras with devotion. In medieval Bengal, the Krishna Kirtan of Chandidas blossomed into the famed Krishna jatra. With the emergence of Lord Sri Chaitanya (1485-1533) the Krishna Theatre gained a new dimension. The Krishna theatre welded the mystic ideologies and musical drama popularized by Sri Chaitanya. The Chaitanya Bhagavata of Sri Brindavan Das delineated a dramatic performance, in which Sri Chaitanya himself performed the role of Rukmini, the cardinal queen of Krishna. He enthralled the audience by his resplendent abhinaya that exuded oriental ectoplasm. The play comprised characters like Barai, Narada and Kotwal, who performed with apposite make-up. Chaitanya Charitamrita, composed by Krishnadas Kaviraj speaks volume about the unflagging interest of Chaitanya in theatrical activities associated with the Krishna cult. He imitated Ras Leela at Puri, which increasingly delighted the indigenous audience. The theatrical activities of Lord Chaitanya climaxed with the development of Indian theatre.
Summary of Chapters
Introduction: Provides a contextual backdrop for the study of drama, emphasizing Bengal's historic literary culture and early stagecraft.
Battle of opinions over Evolving Drama: Reviews the academic controversy regarding the origins of Indian drama, contrasting ritualistic Vedic interpretations with secular and foreign influences.
Historicity of Bengali drama: Outlines the development of drama in Bengal at the intersection of various classical and folk influences before the British era.
Sanskritization of drama: Discusses the classical foundations of Indian drama through mythical poetry and the significant contributions of figures like Kalidasa.
Emergence of the British era: Analyzes the transition of Bengali theater under British rule, focusing on the melding of Western styles with indigenous dramatic practices.
Drama: Etymology: Examines the evolving definition and linguistic roots of the term "drama" as a form of visual poetry.
Stratification of Bengali Drama: Explores the "umbrella" nature of drama as a reflection of national reality, incorporating various art forms like pantomime and theater.
Gitika: Focuses on the role of traditional folk ballads and their significance as a segment of rural Bengali performance culture.
Jatra Pala: Details the history and growth of Bengali opera, particularly highlighting the impact of the Bhakti movement and Lord Sri Chaitanya.
Theatre: Traces the birth of modern Bengali theater through the introduction of the proscenium stage and the influence of Russian and English theatrical concepts.
Keywords
Bengali drama, Jatra pala, Sanskrit drama, Indian theatre, Bhakti movement, Gitika, Proscenium stage, Cultural evolution, Historical drama, Regional art, Folk ballads, Sri Chaitanya, Performing arts, Stagecraft, Oriental influence.
Frequently Asked Questions
What is the core subject of this academic paper?
The paper examines the historical process and development of Bengali drama, tracing its evolution from ancient roots to the modern era.
Which thematic areas are centrally explored?
The research covers the Sanskritization of drama, the influence of folk culture, the impact of British and Russian theatrical styles, and the evolution of regional performance forms.
What is the primary objective of this study?
The primary aim is to analyze the "two-fold" development model of Bengali drama, which the author argues has been overlooked by traditional scholars.
What research methodology is employed?
The work uses a comparative historical analysis, juxtaposing indigenous classical traditions with foreign influences and local folk culture to identify the trajectory of the art form.
What is discussed in the main body of the text?
The main body investigates the etymology of drama, the specific historical phases of Bengali theater (including the role of the Bhakti movement), and the transition to modern stagecraft.
Which keywords define this work?
Key terms include Bengali drama, Jatra pala, Sanskrit drama, Indian theatre, and the intermingling of Oriental and Occidental cultural paradigms.
How did the Bhakti movement contribute to Bengali drama?
The movement provided a spiritual and musical impetus, particularly through the figure of Lord Sri Chaitanya, which helped transform devotional singing into the structured "Jatra pala" (opera).
What role did the proscenium stage play in Bengal?
The introduction of the proscenium stage, described as a "Russian" influence, represented a departure from traditional folk performances and acted as a catalyst for modern, intellectual theatrical practices in Calcutta.
How is the term "Gitika" characterized in the paper?
Gitika is identified as an essential folk ballad form that captures the nucleus of rural life and serves as a vital segment of traditional Bengali performing arts.
Why does the author discuss the "Saka" hypothesis?
The author mentions the Saka influence as an alternative scholarly theory for the growth of Sanskrit literature and drama, though it notes that this theory has not gained widespread recognition.
- Arbeit zitieren
- Prabir Bhattacharya (Autor:in), 2017, Historicizing drama: Was Bengal the matrix of drama?, München, GRIN Verlag, https://www.grin.com/document/372502
