theater architecture in india

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Journey of TheaterArchitecture in IndiaFrom Vedic to 21st Century

Study on the Ancient theater architecture as well as contemporary

2014

Sushant Bharti

Vastukala Academy of Architecture

10/6/2014


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Journey of Theater Architecture in India

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CERTIFICATE

This is to certify that the Dissertation entitled Journey Of TheaterArchitecture in India, submitted by Sushant Bharti, batch 2011-2016,as a part of five year undergraduate programme in Architectureat VASTU KALA ACADEMY, is a record of bonafide work carried outby him under by my guidance :

MRS. SHEILY SRIVASTAVA(GUIDE)


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ACKNOWLEDGEMENT

I am grateful to my dissertation guide, Mrs Sheily Srivastavafor herable guidance and providing valuable tips and directions from time to

time. I am thankful to her for giving patient hearing to me as andwhen I approached her with any problem. I would also like to thankMr Veejay Sai, Art CriticMr. Ashok Sagar Bhagat,Professor,TheaterArchitecture, NSD and Mr. Manohar Varadpandefor helping me togather valuable information related to my dissertation topics.


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Introduction

Ancient Indian Theater

Natyotpatti

Rasa in Theater

Origin Of Theater In India

Dramatic Theory Of Veda

Theater In Ancient Indian Literature

Folk Theater in India

Ancient Indian Theater Architecture

Theater According To Bharat Muni(Natyashastra)

Design aspect of Ancient Indian Theater

Historical evidences of Theater in India

Modern Indian Theater Architecture

Present Day Theater in India

Types of Theater in India

Design Aspect of present day Indian theater

Comparative Analysis of Ancient and Modern Theater

Case Studies

Prithvi Theater

Tata Theater National School of Drama

Conclusion


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AIM: To explore the journey of Theater Architecture in India

OBJECTIVE:

The basic classification of my study would be :-

History / background study of theater

What are the principles that affects the theater house

To study the different types of theater space

To study the social impact on theater

To study what are the various benefits of green facades.

To study the present trends in green walls

Various methods / design aspects which can be followed for constructing greenfacades , how is a green facade wall erected

What is the cost of a green facade wall?

Future /developments Do ancient theatre needs advancement

Scope of ancient theatre in various conditions & its future.

METHODOLOGY:

Initially I will show basic information about theatre architecture in India.

Afterwards I will try to find basic concept of Indian theatre, and show all theirs

characteristics.

Next step is to describe present day problems, and try to find if ancient theatre house

can be solution to the modern one

Finally I will show conclusions and my opinion about dissertation.

By this structure is much easier to understand my work and also to take a stand onreport problem.

SCOPE OF STUDY :

The study is to examine the ancient Indian theater and the construction techniqueswhich are there in Natyashashtra by Bharat Muni and to compare it with the present daytheater houses.

My study does not include Theater architecture outside India

LIMITATIONS:

The study is limited to theater performance. No dance and music performances areincorporated in this study.


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Introduction

Theatre is one of the integral component of the Indian culture. The rich culture of India has

further gained that articulate dimension amidst the artistry of Indian theater and drama.

Theater in India is as old as the culture of India and quite ideally therefore the deep-rooted

relation between Indian tradition and Indian drama has given birth to a number of eminent

personalities in Indian theater. India therefore boasts its glorious association with all the

well known theater personalities who has further reshaped and redefined the age old

ethnicity of India in the most coherent way.

The origin of the Indian theatre or rather folk theatre and dramatics can be traced to

religious ritualism of the Vedic Aryans. This folk theatre of the misty past was mixed withdance, ritualism, plus a depiction of events from daily life. It was the last element which

made it the origin of the classical theatre of later times. The history of ancient Indian theatre

dates back to the Vedic age. It is believed that the theatrical culture in India originated in the

times of Rig Veda. Themes regarding wild animals and hunters played the most pivotal role

in the ancient Indian theatres. However, the ingredients for theatre were there already in

India steeped in folklores, myths, tradition and legends written in umpteen languages as

India is always the land of stories. However, the main idea and storyline of the ancient Indian

theatres used to be the depiction of events of everyday life, dance and food. Ritualism made

a great impact in the presentation of ancient Indian theatre and indeed paved the way of arather classical presentation of Indian theatre.

Dance and Music were highly-evolved Court arts in Ancient India. They were not the folk-art

to be shown on the streets or near the village shrines. The palaces contained separate halls

for Natya. The Malavika Agnimitra of Kalidasa furnishes us the information that the palace of

the King had a chitrasala (painting hall) and a prekshagara (a hall for witnessing Natya). As it

is clearly known that Dramaturgy existed in ancient India we cannot deny the fact that there

were no permanent structures to house such art performances. It also Denys the fact that

the Natyamandap in front of the Garbhgriha were the only structures to house the drama in

ancinet times. It is important to find out the various evidences from the ancient Sanskrit text

to promote our ancient planning and designing skills of stagecraft.

By having a comparative study of both Ancient and Present Day Theater architecture people

may get help in designing Playhouse and Theater house for the performance arts. Also an

analytical and appropriate studies can be made about the art of construction, material, land,

craftsmen, calculations regarding Theater Design.


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Ancient Indian TheaterArchitecture


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NatyotpattiNatyais a term which could be used in place of rupaka or rupa, meaning, Drama i.e. a play

intended for presentation. Again, Natya is being used for the term Nrtyawhich means

Dance. The expression Bharatanatyam is an example by itself. Many of the earlier & laterscholars & critics have written variously on the concept of Natya,Nrtya,Nrtta. It is interesting

to note that there is no such term as Nrtya in the Natyashastra. However, the term Nrtya

appearing in the original text, at places it is followed by a parenthetical classification Nrtta.

Nrttais much more ancient a genre than natya. It is said that latter was created by Brahma

while nrtta was brought into being by Parameswara(Shiva).It cannot be asserted that Natya

took off Nrtta, for both the genres took roots & developed independent of each other.

Sharadatanyain his Bhava Prakash, explains the origin of natya vidya according to the

Rigveda:-

At the end of Kalpa, Maheshwara (shiva),having burnt all the worlds, danced in abandon.

He then created Vishnu & Brahma. The inexplicable creative energy of Vaishnavi took the

form of ever auspicious Ambika & stood on the left side of Shiva. Then in accordance with

the plan of Devendra,Brahma,having created all the worlds, wished to directly see the life of

Shiva. While Brahma was contemplating on the prospect of seeing the lords life,

Nandikeshwara arrived & practically taught him the Natyaveda (the knowledge of Natya)

and said, Teach unto other Bharatas(actors) one of the rupakas that thou has learnt from

the natyaveda thyself, together with the rules thereof. When Bharata's well-versed in

Abhinaya,enact the rupaka,all events & actions in retrospection shall become visible to

thee. So saying Nandikeshwara disappeared. Being pleased with the fulfillment of his desire

Brahma together with other gods,wrote Tripuradaha. Rupaka taught the same to the actors

asking them to perform it well. So did they perform.

Rasa in Theater

The verse speaks of the arousal in the spectator of a pure state of joy(rasa) which isaesthetically aroused by the portrayal of universalized and super sensual inner states ofbeing through the medium of the actor's art of communication through his body-speechmind-physical get up(abhinaya)- delineated according to the two practices of performances


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(dharmi), in four styles(vrtti) in four regional variations (pravartti) with accompanying vocaland instrumental music(svara-gana-atodaya) in the playhouse (ranga) for the success ofproduction(siddhi). The description provides a comprehensive idea of a set of componentswhich formed the whole framework of an ancient Sanskrit play.

Each of them can be properly understood in the context of the others alone. This synergicinterrelationship is at the core of the principles and practices of the ancient play. In otherwords, the play, the character, the performance, its practices, the styles of production, theiregional modes of presentation, the music, the playhouse, the spectators and above all therasa pervading all these elements are mutually interdependent and interwoven in the fabricof a theater so intrinsically that a replacement of even one of them may disturb the harmonyof the style of theater.

Origin Of Theater In India

Hindu theatre is an ancient form of drama taking place in India. It dates back to 1500 B.C.,

when religious hymns were put as dialogue. In Hindu mythology, it is said that Brahma

invented theatre and commanded the first playhouse built. A literary language that is used

and understood only by aristocrats is called Sanskrit. Gardens or courthouses of palaces or

specially built palace playhouses were where most of these dramas were performed in the

early years of Hindu Theatre. Also, it is performed only for good entertainment and always

has a happy ending. Hindu theatre is very intimate, delicate, and restrained.


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As we know Hindu theatre got its start before 1500 BC, but what might be surprising is that,

according to some historians, is that it might only date back as far as 1000 BC. Hindu drama

was written in Sanskrit which was the common language for India at the time. Hindu theatre

was usually performed at religious festivals. But the oldest Hindu dramas were notcomposed in Sanskrit but rather Prakrit. Bharata in Hindu theatre is not a historical person

but more of a symbolic thing. Hindu drama was the only form of drama to not be influenced

by foreign cultures. But it originated from ancient customs of reciting sorts of poetry. This

was only at social and religious gatherings. Musical and dramatic styles added to the

increasing success of the Hindu performances.

The origin of the Hindu theatre or rather folk theatre can be traced to religious ritualism of

the Vedic Aryans. This folk theatre of the past was mixed with dance, ritualism, plus a

depiction of events from daily life. Aryan tribes in which some members of the tribe acted as

if they were wild animals and some others were the hunters. Those who acted as animals

like goats, buffaloes, reindeer, monkeys, etc. were chased by those playing the role of

hunters and a mock hunt was enacted. In such a simple manner did the theatre originate in

India nearly 4000 years back in the tribal Aryans of Rig Vedic times. Bharatamui, the author

of Natyashastra an ancient Indian text on dance and drama, is said to have lived around the

4th century but even he is not aware of the actual origin of the theatre in India. He has

stated in a dramatic manner that it was the lord of creation Brahma who also created the

original Natyashastra . According to Bharatamuni, since the lord Brahma created the entire

universe we need not question his ability in creating dramas.

Dramatic Theory Of Veda

The first thing perhaps which strikes a student of Sanskrit literature is the fundamentalreligious basis of the entire edifice. The characteristic Hindu attitude to life may be judgefrom certain deeply rooted national beliefs. The doctrine of karmas and of rebirth go hand inhand. Deeds of the past life are held more or less responsible for birth in a high or low casteand family, and also for the misery and happiness falling to the human lot. However sincegod is supposed to hold the scales of justice even, it is open to a human soul, by means ofmeritorious deeds, to rise to the summit of evolution and experience, the consummation ofpure joy i.e.' Moksha.

It is not difficult to trace the influence of this great doctrine on the Vedic Drama. Humansuffering was thus easily accounted for. Sakuntala, by a deed of omission, offended a fiery


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sage, who pronounced the curse of conjugal separation on the erring damsel. Similarly, Sitaholds the sins of previous birth for her miseries.

This philosophical attitude was supported by a general moral purpose to encourage virtueand condemn vice or sin. Partly to achieve this end and partly to preserve the usual romantic

atmosphere, there were presented on the stage ideal heroic characters strongly contrastedwith vicious antagonist. In order to maintain an idealistic situation not only was a tragic endforbidden, but other important and far reaching restrictions were also imposed. Proprietyand decorum were emphasized and the dramatist had to observe decencies on the stage.

Theater in Ancient Indian Literature

Dance and Music were highly-evolved Court arts in Ancient India. They were not the folk-artto be shown on the streets or near the village shrines. The palaces contained separate hallsfor Natya. The Malavika Agnimitraof Kalidasa furnishes us the information that the palace ofthe King had a chitrasala (painting hall) and a prekshagara (a hall for witnessing Natya). It is inthis prekshagara that Malavika's dance is presented. There can be no mistaking this place tobe a mere hall or some sort of architectural structure. It is a perfectnatyasala, there beingmention of the green-room and the curtain. In act V of the Sakuntalait is said thatHamsapadika, the King's quondam sweetheart is singing in the sangitasala.

The Vishnudharmottaramentions only two types of theatres. It says "The Natya should bepresented only in a theatre, and a theatre might be of two kinds, rectangular or square. Thesquare should be 16 X 16 yds. The theatre should not be too small or too big, for there would

be congestion in a small one and the show would become indistinct in a big one." Themeasurement given here for a rectangular theatre is not clear, the text being corrupt. Thiswork does not mention the triangular theatre.

Narada's Sangitamakarandamentions only the square theatre. It gives a new measurement,that this square theatre should be 48 X 48 yds. Thus according to Bharata this will perhapsbe ajyestha type. Narada then adds that the natyasala must be richly painted with theeighty-four bandhas mentioned in the Kamasastra, or more likely the dance bandhas ofthe Natyasastra, inlaid with innumerable gems of diverse colours and decorated withchowries, flags and festoons. He gives the house four gates. In the centre there should be araised platform, beautiful and perfumed, a twelve-yard square, in the middle of which theking's seat should be arranged.

Chapter X of Saradatanaya's Bhavaprakasa says that the palace of a king should have threekinds of theatres. This writer omits the rectangular type and has in its placethe vritta, circular theatre He opines that the king should have all the three types in hispalace, each for a particular kind of dance and audience. He assigns to the circular theatreonly the chitra variety of the misra dance i.e., the style in which bothmarga and desi are


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mixed. The audience in this theatre should be only males, consisting, besides the king, ofproprietors of other theatrespara-mantapikas, and the chief citizens. In the square type theaudience consist of the king courtezans, ministers, merchants, commander of the army,friends and the king's sons. Here all sorts of misra dance and music could be conducted. Inthe triangular, the audience with the king include the sacrificial priests, the preceptors, the

king's harem and the chief queen. The dance conducted in this theatre should be ofthe marga style only.

The Sivatattvaratnakara of Basavaraja says that King Venkatappa built a theatre at Ikkeri. Itdescribes the grandeur of that theatre, worked in ivory and sandal and inlaid with preciousstones, having, a garden around it, receiving enough light where it was wanted and withspecial artificial lighting arrangements in the darker portions. The whole house wasbeautified with paintings of various themes on the walls that looked like mirror.

The Sangitachudamani, an unpublished work on Music, seems to have dealt with the

theatre. We have two verses from it describing yavanika (curtain) quoted in anotheravailable work on Poetics. The verses say that there should be a thick and beautiful curtain infront. Behind it, there should be two very thin and beautiful curtains looking just like thinmist. The first curtain is the front drop which is removed as soon as the show begins.Behind the mist-like curtain, the danseuse performs the dance caned lasya.

Folk Theatre In IndiaSince India consists of varied ethnic groups, each developed their own kind of traditional

folk theatres, using the regional language for communication. These theaters are known by

different names in different Indian states, like Jatra in Bengal, Orissa and Bihar, Tamasha in

Maharashtra, Nautanki in Uttar Pradesh and so on. Here, the main protagonists are the

narrator and a comedian. Loud music, dance, elaborate make-up, masks and chorus singing

are the main traits of Indian folk theatre.

Kutiyattam Bhavai


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Kutiyattamis the only surviving specimen of the ancient Sanskrit theatre, thought to have

originated around the beginning of theCommon Era.

In addition, many forms of Indian folk theatre abound.Bhavaiis a popular folk theatre form

ofGujarat,said to have arisen in the 14th century CE.BhaonaandAnkiya Natshave been

practicing inAssamsince early 16th century which were created and initiated by

Mahapurusha Srimanta Sankardeva.

Jatrahas been popular inBengaland its origin is traced to the Bhakti movement in the 16th

century. Another folk theatre form popular inHaryana,Uttar PradeshandMalwaregion

ofMadhya PradeshisSwang,which is dialogue-oriented rather than movement-oriented

and is considered to have arisen in its present form in the late 18th - early 19th centuries.

Bhaona

Jatra

Yakshagana Kathakali

Swang
http://en.wikipedia.org/wiki/Kutiyattamhttp://en.wikipedia.org/wiki/Kutiyattamhttp://en.wikipedia.org/wiki/Common_Erahttp://en.wikipedia.org/wiki/Common_Erahttp://en.wikipedia.org/wiki/Common_Erahttp://en.wikipedia.org/wiki/Bhavaihttp://en.wikipedia.org/wiki/Bhavaihttp://en.wikipedia.org/wiki/Bhavaihttp://en.wikipedia.org/wiki/Gujarathttp://en.wikipedia.org/wiki/Gujarathttp://en.wikipedia.org/wiki/Gujarathttp://en.wikipedia.org/wiki/Bhaonahttp://en.wikipedia.org/wiki/Bhaonahttp://en.wikipedia.org/wiki/Bhaonahttp://en.wikipedia.org/wiki/Ankiya_Nathttp://en.wikipedia.org/wiki/Ankiya_Nathttp://en.wikipedia.org/wiki/Ankiya_Nathttp://en.wikipedia.org/wiki/Assamhttp://en.wikipedia.org/wiki/Assamhttp://en.wikipedia.org/wiki/Assamhttp://en.wikipedia.org/wiki/Mahapurusha_Srimanta_Sankardevahttp://en.wikipedia.org/wiki/Mahapurusha_Srimanta_Sankardevahttp://en.wikipedia.org/wiki/Jatra_(Bengal)http://en.wikipedia.org/wiki/Jatra_(Bengal)http://en.wikipedia.org/wiki/Bengalhttp://en.wikipedia.org/wiki/Bengalhttp://en.wikipedia.org/wiki/Bengalhttp://en.wikipedia.org/wiki/Haryanahttp://en.wikipedia.org/wiki/Haryanahttp://en.wikipedia.org/wiki/Haryanahttp://en.wikipedia.org/wiki/Uttar_Pradeshhttp://en.wikipedia.org/wiki/Uttar_Pradeshhttp://en.wikipedia.org/wiki/Uttar_Pradeshhttp://en.wikipedia.org/wiki/Malwahttp://en.wikipedia.org/wiki/Malwahttp://en.wikipedia.org/wiki/Malwahttp://en.wikipedia.org/wiki/Madhya_Pradeshhttp://en.wikipedia.org/wiki/Madhya_Pradeshhttp://en.wikipedia.org/wiki/Madhya_Pradeshhttp://en.wikipedia.org/wiki/Swang_(dance_drama)http://en.wikipedia.org/wiki/Swang_(dance_drama)http://en.wikipedia.org/wiki/Swang_(dance_drama)http://en.wikipedia.org/wiki/Swang_(dance_drama)http://en.wikipedia.org/wiki/Madhya_Pradeshhttp://en.wikipedia.org/wiki/Malwahttp://en.wikipedia.org/wiki/Uttar_Pradeshhttp://en.wikipedia.org/wiki/Haryanahttp://en.wikipedia.org/wiki/Bengalhttp://en.wikipedia.org/wiki/Jatra_(Bengal)http://en.wikipedia.org/wiki/Mahapurusha_Srimanta_Sankardevahttp://en.wikipedia.org/wiki/Assamhttp://en.wikipedia.org/wiki/Ankiya_Nathttp://en.wikipedia.org/wiki/Bhaonahttp://en.wikipedia.org/wiki/Gujarathttp://en.wikipedia.org/wiki/Bhavaihttp://en.wikipedia.org/wiki/Common_Erahttp://en.wikipedia.org/wiki/Kutiyattam


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Yakshaganais a very popular theatre art in Karnataka and has existed under different names

at least since the 16th century..Kathakaliis a form of dance-drama, characteristic ofKerala,

that arose in the 17th century, developing from the temple-art plays

KrishnanattamandRamanattam.

Theater According to Bharata Muni

According to Rig Vedic Hymns Brahma ordered Visvakarma, the celestial architect, toconstruct a Natya Grihaor a theatre so that admission could be restricted. Being himself one

of the gods, Visvakarmaimmediately brought into being a theatre, acoustically perfect.

In order to prevent any disturbance various gods were entrusted with respective duties ofguarding the actors and actresses, the production material and the theatre - the Moon wasin overall charge of the theatre, the lokpals to guard the sides, Mitra in charge of the greenrooms, Varuna the sky, Agni the stage, Meegha the instruments, Brahma the acting area,Indra the hero, Sarasvati the heroine, Oomkaara the clown, Hara the rest of the artistes etc."those gods that are in respective charge of the various sections of the production and thetheatre shall be called Ranga Deevanta-s or the presiding deities of the theatre and holdsupereme charge of those sections" were the powers made over by Brahma. He also statedthat the Gods that guard the production and the theatre should be worshipped before a

production started.

A detailed description of different types of theatre (Natyamandapa) is given in the secondchapter of the Natyasastraby BharataMuni. It contains one hundred and five stanzas. Itgives detailed dimensions and layouts of different types of theatres as well as informationon the construction of walls, columns, roof, their decorations etc. the description oftheatres is so minute and the reasons, given by Bharata, for fixing their dimensions arebased on such scientific facts that there could not be any doubt that such thetres used to beconstructed at and before the time of Bharata, and that he must have been well-versed inthe various facets of the consruction of the theatre. The name of the second chapter of the

Natyasastra is 'Mandapa Vidhanam'. Detailed description of three types of theatres aregiven. This second chapter is an important evidence regarding the progress in theconsruction of big public buildings as early as fourth or fifth century B.C.

The theatre according to the Natyasastra of Bharata, would be as briefly stated as follows :-
http://en.wikipedia.org/wiki/Yakshaganahttp://en.wikipedia.org/wiki/Yakshaganahttp://en.wikipedia.org/wiki/Kathakalihttp://en.wikipedia.org/wiki/Kathakalihttp://en.wikipedia.org/wiki/Kathakalihttp://en.wikipedia.org/wiki/Keralahttp://en.wikipedia.org/wiki/Keralahttp://en.wikipedia.org/wiki/Keralahttp://en.wikipedia.org/wiki/Krishnanattamhttp://en.wikipedia.org/wiki/Krishnanattamhttp://en.wikipedia.org/wiki/Ramanattamhttp://en.wikipedia.org/wiki/Ramanattamhttp://en.wikipedia.org/wiki/Ramanattamhttp://en.wikipedia.org/wiki/Ramanattamhttp://en.wikipedia.org/wiki/Krishnanattamhttp://en.wikipedia.org/wiki/Keralahttp://en.wikipedia.org/wiki/Kathakalihttp://en.wikipedia.org/wiki/Yakshagana


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Theatres are of three typesdepending on their shape. They are Rectangular(Vrikrshta),

Square(Chatursara) and Triangular(Tryasara). Each type is subdivided into threeaccording to their dimensions, as large,medium and small. The large theatre is 108 hastas

long, middle is 64 Hastas and the small theatre is 32 hastas long. There are thus Nine

types of theatres

Dimensions of theatre are given in Hastas(= 24 angulas) as well as in dandas (= 96

angulas). But theatres are constructed in the measure of Hasta. Thus the theatre is

divided in two main parts of equal length. The eastern division is meant for the audience-hall, the theatre being oriented in the east-west direction. The western part is again

divided in two equal parts. The eastern part of it is meant for the Rangasirsa and the

western part for the green-room.

The Rangapithais the stage and the Rangasirsais its surface. Separate area is not

allotted to the Rangasirsa other than meant for the rangapitha. The Natyamandapa

should be provided with a plinth or Adhisthana. The Rangasirsa should be at the higher

level than the plinth.

Mattavaraniis a verandah or a wing located at both the sides of the Rangapitha. It also

referred to a wooden railing 1 hastas in height. It is located on the top of the

Rangapitha and along its edge that is towards the audience - hall. It is provided with four

columns. It serves to protect actors and actress from the attack of intoxicated persons

from the audience - hall. The moulding of the front side of the Rangapitha should be

similar to those of vedika, as described in the treatises of Silpasastra.It is decorated withelephant relief carved on it.


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The Rangasirsa of the rectangular theatre should be ascending from its eastern edge to

the western edge. It should neither look like the back of a tortoise i.e. high in betweenand lower at the ends nor like the fish i.e. long and bulged from all sides The Rangasirsa

of the theatre should be level and as shiny as a mirror.

Saddharukaa wooden frame of six wooden battens placed below the the Rangasirsa in

order to create hollow space between Rangapitha and Rangsirsa.

The step - like seating arrangement being form a distance of eight Hastas from the

eastern edge of the Rangapitha. The seating arrangement, in the square-shaped theatre

is 32 Hastas long and eight Hastas broad. The easternmost step is at the height of eight

hastas from the top of the plinth.

The height of the theatre should be equal to that of the two storeyed mandapa. A

second floor is not provided either above the stage or the audience - hall.

Some Columns are embedded in walls. Walls are not load-bearing. The theatre is a

column and beam structure.

Four door should be provided to the rectangular theatre and three doors, each, to the

square-shaped and triangular theatre. A door is provided for the entry of actors from

outside to the green-room in all the theatre. Another door is provided in the eastern wall

of the theatre for the people to enter the audience-hall. In case of the rectangular

theatre, there are two doors in the partition wall separating the stage from the green-


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room. In case of the square and the triangular theatres, there should be only one door

for the entry from the green-room to the stage.

The height of the theatre, like that of a Chaitya cave, should be equal to a two storied

mandapa. It should have a barrel vault type roof like that a Chaitya cave. The

arrangement of columns is similar to that in caitya cave. Those who wants to have an

idea of the type of theatres in ancient Indian may derive much benefit by referring to the

very useful diagrams of Bharata's theatres which are given here

Detailed Section of an ancient Theater Stage


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Glossary of Ancient Stage

Natyamandapa & Preksagraha-Theatre.

Ranga-Stage

Rangapitha-The base of the stage,

Rangasirsa-The surface of the stage

Mattavarani-A line(an artistic design in relief) of intoxicated elephants,

Viddhasya-Faces so turned as to see the stage-(facing the stage)

Hastadanda Samasraya- With the help of a measuring rod(danda) of one cubit(hasta)

Saddaruka- A six-piece wooden structure

Dvibhumi- Two floors

Anissarana Dharma- The principle of Reflection(here applied to sound or acoustics)

The theatres mentioned in the Natyashastra are of three kinds:

Vikrstha(Oblong) Caturasra(Square) Tryasra(Triangular).


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Again, each of them are in three sizes:-

Jyestha(Large)

Madhyama(Middle)

Avara(Small)

Thus, there are ninevarieties of theatre in all. The dimensions of these theatres are

measured in Hasta units..Therefore,there cannot be eight varieties of theatre as

Abhinavgupta mentions :-

1)

Vikrstha Madhyama( oblong theatre of middle size- 64x32 h)

2) Caturasra avara(square theatre of small size- 32x32 h)

3)

Tryasra(triangular theatre of small size- 16 h)

One hasta = 18 inch or 45 cm

Design Aspects of Ancient Stage

In fact, only these 3 theatres have been mentioned in Natyashastra. The preference to

the middle size as the best in all three varieties valid from the present day scientific

points of view(i.e. of optics & acoustics of theatre)

The site where a play house has to constructed should be obstruction free. Strong,

stable, absence of skeleton and large granules is required. Rangapithahappens to be

the support below for the rangasirsa to rest on. The mattavarania sculptural relief of

elephants was carved on the lower frieze of rangapitha, with its four pillars on the stage.

The height of elephants so carved should not be less than half a hasta (nearly 9).The

height of mattavarani & that of stage are to be corresponding & equal to each other.

Rangasirsa was constructed on the support of Saddaruka, a simple structure of a frame

made of six rafter pieces of wood. Adequate number of planks & bamboos were laid to

cover the tops of saddaruka.


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Over that, again, black earth(clay) was spread evenly & then again polished smoothly like

the surface of a mirror. Rangasirsais this surface of the stage floor. Since the saddaruka

frames remain hidden underneath the rangapitha, they were visible. The stage was

referred to as Dvibhumi meaning two floors because it is made up of a lower part & an

upper part, the rangapitha & rangasirsa. On account of construction of the saddarukaframes, the space between the rangapitha & rangasirsa was empty. Characters like gods

& other supernatural beings could be made to appear on the stage-floor as emerging

from this empty space. The empty space also served as a resonating agent due to which

the sounds of the foot-steps(of the performers) could be resonated & rendered pleasing

to hear.

Nirvyuha kuhara, a projecting element from the wall served as a protecting shield to the

element below it constructed in recess created in the wall for inserting decorating motif.

These projecting elements were made inside as well as outside of a wall. These were

made in material like- bricks, wood or stone. A look at the walls of any old building

would give a clear idea of these projecting and recessed elements. Their purpose was to

create idea of chiaroscuro of light and shade by the sunlight falling on the wall and help

in breaking the monotony of a plain flat surface. And width adequate projection or depth

they could also protect the elements under or inside these.

But these elements seem to be used in Bharats's theaters inside the wall and are

mentioned in the slokas which are referring to the wood work. This wood work was

done with two objectives in mind- weight bearing and creating beauty and richness by

ornamentation.

The ornamental designnot only imparted the interior of the theater richness and

beauty, but they also served as very vital function that of breaking up the plain wood

surfaces and give them a texture of unevenness and roughness which was a very

important and necessary function from the point of acoustics. These uneven and

textured surfaces helped in the absorption of sound and prevented it from being thrown

back which would results in echoes.

Besides these favorable requirements, other elements also were used to reinforce sound

and give it resonance and to avoid echoes and thereby give the speech and singing aquality more pleasing to hear. The textured achieved in the ornamentation as well as the

pillars, beams, the ribs, the struts also must have helped a great deal in reinforcing the

quality of sound. They broke up the even surface which would tend to reflect the sound

and create echoes. These elements in the days of yore were used to for the same

purpose as the modern sound insulation boards are used to serve in the present day

theater acoustics.


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The shape of the theater-salaghuraka-itself must have been responsible to no mean

extent in creating the excellent acoustics quality. Bharata's had achieved a high quality

of acoustics and good sight lines which many a modern architect have failed to achieve in

the construction of theaters. The roof of the theatre should be raised high in a manner to

form a rib in the middle. The vertices of the triangles so formed at the ends of the rib &rest of the roof should slope down. The roof should almost look like the roof of a cave of

stone. The hollow space so formed inside the roof shall make the sound(of speech &

song)uniformly audible to at all points.

The rectangular middle sized theaterwas to be neither larger nor smaller than this

because the sound of the spoken words would become indistinct due to distance or

become distorted due to the deflection causing echo.

No pillar, no peg on it, no window, no corner or any door should face a door. He says this

from the point of view of the unobstructed view of an entry or exit as well as ofacoustics distinction. It is common practice of the architects to place doors and windows

facing each other for the free cross wind to pass easily. In a theater, the subtlest sound is

vitally important and wind would disturb this and make it indistinct and hence this advice

to construct doors in a staggered order. The windows are to be small so that they let in

only gentle breeze or be almost breezeless. The breeze is further to be regulated byjala-

lattice. This as well as staggered placing of the doors and windows would help to keep

the sound of spoken words steady and also bring solemnness to dialogues.

Timing of a Drama Performance

Except for the time of prayers or meals, a play could be performed at any time of day andnight-early mornings, forenoon, afternoon and evening. As a rule, a performance was fixedat a period of day or night or even a season which was most appropriately suitable tocommunicate the mood and rasa impact of the play. for example, a play evoking pathetic


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rasa might be staged in mornings, while one with latent erotic rasa would be staged atevening. Plays were generally produced on festive occasions, public or private. A vernalfestival was the occasion of the staging of Ratnavali. The Mudrarakshasha refers to thecelebration of autumn season. The time of production was generally afternoon and lastedfor nearly four or even five hours. It must be remembered that while in the Greek Theater,

often three tragedies and a comedy were produced on the same day, In India one single,well sustained and systematically evolved drama was produced. The Indian climaticconditions would give the necessary light throughout the day, for as a rule few plays wereproduced during the rainy season.

The first thing perhaps which strikes a student of Sanskrit literature is the fundamentalreligious basis of the entire edifice. The characteristic Hindu attitude to life may be judgefrom certain deeply rooted national beliefs. The doctrine of karmas and of rebirth go hand inhand. Deeds of the past life are held more or less responsible for birth in a high or low casteand family, and also for the misery and happiness falling to the human lot. However since

god is supposed to hold the scales of justice even, it is open to a human soul, by means ofmeritorious deeds, to rise to the summit of evolution and experience, the consummation ofpure joy i.e.' Moksha.

It is not difficult to trace the influence of this great doctrine on the Vedic Drama. Humansuffering was thus easily accounted for. Sakuntala, by a deed of omission, offended a fierysage, who pronounced the curse of conjugal separation on the erring damsel. Similarly, Sitaholds the sins of previous birth for her miseries.

This philosophical attitude was supported by a general moral purpose to encourage virtueand condemn vice or sin. Partly to achieve this end and partly to preserve the usual romantic

atmosphere, there were presented on the stage ideal heroic characters strongly contrastedwith vicious antagonist. In order to maintain an idealistic situation not only was a tragic endforbidden, but other important and far reaching restrictions were also imposed. Proprietyand decorum were emphasized and the dramatist had to observe decencies on the stage.

Historical Evidences of Theater in India

Theatre in the city of Krishnadevaraya

There are historical reference to Krishnadevaraya himself being a practicioner of music &drama. It is said that one Bhandaru Lakshminarayana,an expert in music had been

teaching music to krishnadevaraya & ladies of his harem. Another person,Ranjakam

Shreerangaraju,Ranjakam Kuppai(his daughter),the dance master Nagayya & others

known to have been performing Dance-dramas in the august presence of

Krishnadevaraya. Paes,a foreign traveller,has described this theatre in certain detail.


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Open air theatre in the royal courtyard of Tanjavur

There is a square theatre in tanjavur belonging to Nayak kings. It is called Tiranda Veli

Arangam, meaning open air exterior stage(theatre).This theatre is attached to the

western wall of Saraswati Mahal library. Its earlier shape is not unknown.It has no roof.It

is bounded by four walls so as to enclose the courtyard. It is said that two thousand

spectators could easily be accommodated at one time. A raised platform appears to have

existed earlier on the north-east corner of the quadrangular enclosure. A speech

delivered from the platform would easily reach every one of the audience without the

aid of of any amplifying device. It was seen that the acoustics of the open-air enclosure

was good enough even for musical concerts.

Open-air construction excavated at Nagarjunakonda


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At the time of excavations at Nagarajunasagar for the project of constructing a dam,a

quadrangular structure,like an open-air theatre was unearthed.It is said that a raised

level on one side of the quadrangular arena & rows of seats on the remaining three of it

give it the shape of an open-air theatre.It is not yet known whether it represents an

open-air theatre or a stadium to accommodate games & spectators.

Some more historical examples existing till date:

Ankiya Nat60 yards long and 20 yards wide,fully covered theater with a double roof on large woodenpillars called Nama Ghar or Bhaona Ghar in which the stage area is marked with rangasthali.

BhgavatamelaA temporary sqaure stage of 15,X15'X2.5' erected in a 20' wide street adjacent to a templemain gate where the temple deity is placed. The performers face the deity. The stage iscovered with a cloth canopy.

YakshaganaA temporary stage 16'X16' square area on the ground level with poles Ton each corner in atemple courtyard


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Modern Indian Theater

Architecture


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Modern Theater in India

The development of Modern Theatre in India was attributed to a change in the political set

up in India. The 200 years of the British rule brought the Indian theatre into direct contact

with the western theatre. The seeds of Modern Theatre were sown in the late 18th century,

with the consolidation of British power in Bengal, Maharashtra and Tamil Nadu. It was in the

thriving metropolises of Bombay, Calcutta and Madras that they first introduced their brand

of theatre, based on London models.

The initial purpose of the British, while introducing Modern Theatre in India was to provide

entertainment for the British soldiers and citizens trying to acclimatize themselves to a

foreign country. For the first time in India, the writing and practice of theatre was geared

fully towards realistic or naturalistic presentation. The themes also underwent a drastic

change. They were no more woven around big heroes and gods, but had become a picture

of common man. Initially most dramatic works were composed in three languages - Bengali,

Tamil and Marathi. But later plays began to be written in other languages like Kannada,

Gujarati, Hindi, Oriya, Urdu and English.

Modern theatre also reached the other states in the south by the beginning of the 19th

century. Ramashankar Roy, Basanta Kumar Mahapatra and others were the pioneers of the

Orissa Theatre. In Tamil Nadu, the early exponents of theatre were Prof. Sundaram Pillai,

Sankardas Swamigal, Sambananda Mudaliar and others. In the recent times, V.

Gopalakrishnan won the respect and admiration of the audience and his fellow artistes for

his talent. Along with Suchalatha Reddy and Thambi Kadambavanam, Gopi had started the

Madras Players troupe in 1952 under the auspices of the British Council and had acted in

quite a few English plays. He also founded the Gopi Theatres in 1971, which staged nearly 30

plays, which included Nittham Oru Yuddham.

In the middle of the 19th century the Western literature and the feelings of nationalism and

pride of the glorious past of the country equally influenced Indian Theatre. Indian theatre

and drama got a new footing, when Sangeet Natak Akademi was started in January 1953.

Later, the National School of Drama under the directorship of Ebrahim Alkazi did much for

the growth and promotion of modern Indian theatre.

In the 1960s, by suitable mixing of various styles and techniques from Sanskrit, medieval folk


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and western theatre, the modern Indian theatre was given a new, versatile and broader

approach at every level of creativity.

The year 1972 turned out to be a landmark for the Indian vernacular theatre when Vijay

Tendulkar's Marathi play 'Ghashiram Kotwal' made waves by its brilliant use of traditional

folk forms in modern contemporary theatre. This led to the birth of a new breed of directors

The beginning of 21st century describes a period of great change within

thetheatricalculture of the 20th century. There was a widespread challenge to long

established rules surrounding theatrical representation; resulting in the development of

many new forms of theatre, includingmodernism,Expressionism,Impressionism.political

theatre and other forms ofExperimental theatre,as well as the continuing development of

already established theatrical forms likenaturalism andrealism.

Throughout the century, the artistic reputation of theatre improved after being derided

throughout the 19th century. However, the growth of other media, especiallyfilm,has

resulted in a diminished role within culture at large. In light of this change, theatrical artists

have been forced to seek new ways to engage with society. The various answers offered in

response to this have prompted the transformations that make up its modern history.[1]

Developments in areas likeGender theory andpostmodern philosophy identified and

created subjects for the theatre to explore. These sometimes explicitly meta-theatrical

performances were meant to confront the audience's perceptions and assumptions in order

to raise questions about their society. These challenging and influential plays characterizedmuch of the final two decades of the 20th-century.

Types Of Modern Theater

Drama-comedy or tragedy can be performed in many different types of theatres, as well asoutdoors, in warehouses, stairwells, and other unusual places. For simplicity, weve dividedthis discussion into smaller drama theatres which include flexible and courtyard theatres and

larger drama theatres, which include thrust, open, and proscenium stages.
http://en.wikipedia.org/wiki/Theatrehttp://en.wikipedia.org/wiki/Culturehttp://en.wikipedia.org/wiki/Modernismhttp://en.wikipedia.org/wiki/Expressionism_(theatre)http://en.wikipedia.org/wiki/Impressionismhttp://en.wikipedia.org/wiki/Political_theatrehttp://en.wikipedia.org/wiki/Political_theatrehttp://en.wikipedia.org/wiki/Experimental_theatrehttp://en.wikipedia.org/wiki/Naturalism_(theatre)http://en.wikipedia.org/wiki/Realism_(theatre)http://en.wikipedia.org/wiki/History_of_filmhttp://en.wikipedia.org/wiki/Twentieth-century_theatre#cite_note-1http://en.wikipedia.org/wiki/Twentieth-century_theatre#cite_note-1http://en.wikipedia.org/wiki/Twentieth-century_theatre#cite_note-1http://en.wikipedia.org/wiki/Gender_studieshttp://en.wikipedia.org/wiki/Postmodernismhttp://en.wikipedia.org/wiki/Postmodernismhttp://en.wikipedia.org/wiki/Gender_studieshttp://en.wikipedia.org/wiki/Twentieth-century_theatre#cite_note-1http://en.wikipedia.org/wiki/History_of_filmhttp://en.wikipedia.org/wiki/Realism_(theatre)http://en.wikipedia.org/wiki/Naturalism_(theatre)http://en.wikipedia.org/wiki/Experimental_theatrehttp://en.wikipedia.org/wiki/Political_theatrehttp://en.wikipedia.org/wiki/Political_theatrehttp://en.wikipedia.org/wiki/Impressionismhttp://en.wikipedia.org/wiki/Expressionism_(theatre)http://en.wikipedia.org/wiki/Modernismhttp://en.wikipedia.org/wiki/Culturehttp://en.wikipedia.org/wiki/Theatre


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Arena

A theatre in which the audience completely surrounds the stage or playing area. Actor

entrances to the playing area are provided through vomitories or gaps in the seatingarrangement.

Thrust

A theatre in which the stage is extended so that the audience surrounds it on three sides.The thrust stage may be backed by an enclosed proscenium stage, providing a place forbackground scenery, but audience views into the proscenium opening are usually limited.Actor entrances are usually provided to the front of the thrust through dormitories or gapsin the seating.

Black box theatre

A flexible theatre usually without character or embellishmenta void space that mayindeed be black, but isnt always. Usually, audience seating is on the main floor, with noaudience galleries, though a technical gallery may be provided.


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End stage Theater

A theatre in which the audience seating and stage occupy the same architectural space, withthe stage at one end and the audience seated in front facing the stage.

Studio theatre

A flexible theatre with one or more audience galleries on three or four sides of a rectangularroom. The main floor can usually be reconfigured into arena, thrust, endstage, and flat floorconfigurations. The room usually has some architectural character.

Courtyard theatre

The term courtyard theatre embraces a range of theatre forms, all with the commoncharacteristic of at least one raised seating gallery surrounding a central area. Often this

central area is flexible, and can be configured into arena, thrust, end stage, and flat floorconfigurations. Sometimes the central area has fixed seating that faces a prosceniumopening and stage.

Proscenium theatre

In a proscenium theatre, the stage is located at one end of the auditorium and is physicallyseparated from the audience space by a proscenium wall. This is sometimes called a two-box arrangementthe auditorium and stage occupy two separate boxes or rooms. The


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stage box (stage house) provides fly space and wings and permits a wide variety of scenicand lighting effects. The auditorium box is the audience chamber, which may take manyformsfan-shaped, courtyard, lyric, etc.

Thrust and open stage

Some larger drama theatres take the form of a thrust stage, with the audience surroundingthree sides of the performance platform. The term open stage can be used interchangeablywith thrust, but implies a more frontal arrangement. These and similar forms canaccommodate a high seat count within an acceptable distance to the stage. Audiencebalconies can increase the intimacy of the room.

Promenade theatre

A theatre without fixed seating in the main part of the auditorium this allows the standingaudience to intermingle with the performance and to follow the focal point of the action todifferent parts of the room. Multiple-focus action and a moving audience are the primarycharacteristics of the promenade theatre.

Dance theatres

Other than the tradition of ballet performance in opera houses, there is no strongly

identifiable theatre form for dance performance. Smaller, 100 to 300-seat spaces designedfor dance are usually end stage or proscenium. The design of the auditorium emphasizesfrontal sightlines and a clear view of the stage floor. Sometimes the seating is on telescopicrisers that can be retracted to allow the whole space to be used for rehearsal or instruction.

Multiform theatre

A multiform theatre can be reconfigured to change the actor-audience relationship and theseat count. By moving large architectural elements, the one-room form of the concert hallcan be transformed into a two-room theatrean auditorium and stage with a proscenium.

Side wall seating towers can be positioned to narrow the room, or otherwise change itsproportion. Often the orchestra (stalls) floor can be leveled and the seats removed to createa large, flexible flat floor area. (Many of the theatre forms described here can be designedwith this flat floor capability. It was a common feature of eighteenth and nineteenth centuryopera houses.


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Design Aspect of Modern Theater

Site Selection

The choice of a site in modern day for an auditorium are governed by several factors whichmay be mutually conflicting, but compromise has to be struck between the various of thesite are made in advance so that noisy locations are avoided. Where as possibleotherwise elaborate and expense construction is required to provide requisite soundinsulation. The quietest possible condition is provided so that intelligibility of speech doesnot suffer and even soft passages of music are heard. It is -particularly necessary to keep thelevel of extraneous noise low by proper orientation and site selection in case where no air-conditioning is provided and doors and windows' are normally kept open during theperformance. When air-conditioning is provided special care is taken to attenuate the plantnoise and the grill noise. For this purpose plant is suitably isolated and ducts as well as theplenum are designed that noise gets adequately reduced so as to be within the permissiblelimits.

Size and Shape

The sizes are fixed in relation to the number of audience required to be seated. The floorarea of the theater including ,gangways ( excluding the stage) are calculated on the basis of0-6 to 0'9 meter cube per person. The height of the theater is determined by suchconsiderations as ventilation, presence (or absence) of balcony and the type of

performance. The average height may vary from 6 m for small theaters to 75 m for largetheaters. Ceiling may be flat but preferable to provide a slight increase in the height near thecentre of theater. The volume per person required to be provided normally range between3.5-5.5 meter per cube.

Floor plans of various shapes are used, but the one which is considered to give satisfactoryresults without introducing complications in the acoustical treatment of the Theater is thefan-shaped plan. The proscenium may bear any suitable ratio with the height of the theaterto suit stage requirements and considerations of viability. The side walls are arranged tohave an angle of not more than 100 degrees with the curtain line. Also, in the case of theatre

a person with normal vision should be able to discern facial expressions of the performers.In order to satisfy these conditions, it is always recommended that the distance of thefarthest seat from the curtain line is not more than 23 meters.


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Stage

The size of the stage depends upon the type of performance the hall is to cater for. It is tobe large for theatres, comparatively small for cinema halls.

Rear Wall

The theater rear walls are either fiat or convex in shape. There is no concave shape, butwhere it cannot be avoided, the acoustical design indicate the surface to be splayed orconvex corrugations given in order to avoid any tendency for the sound to focus into thetheater.

Side wall

wherethe side walls are non-parallel as in the case of a fan-shaped hall. The walls remain

reflective and are architecturally finished in any manner required, if sound absorbingmaterial is not required from other considerations. Where the side walls are parallel they areleft untreated to a length of about 7 meter from the proscenium end. In addition, any of thesurfaces likely to cause a delayed echo or flutter echo is appropriately treated with a soundabsorbing material. Difference between the direct path and the path reflected from sidewall does not exceed 1meter.

Roof and ceiling

The requirements pertaining to a roof are mainly governed by architectural, engineering oreconomic considerations. In large theater hall a false ceiling is usually provided below the

trusses. The portion of the false ceiling near the proscenium is constructed of reflectivematerial ( usually plaster of Paris) and is suitably inclined to help reflections from the stageto reach the rear seats of the hall. The remaining portion of this ceiling is constructed to takeacoustical treatment. Concave shaped ceilings (in the form of dome or barrel) are avoided.The rear portion of the ceiling is treated with sound absorbing material partly for control ofreverberation and partly to prevent build-up of audience noise.

Seating arrangement

For good visibility as also for good listening conditions, the successive rows of seats are

raised over the preceding ones with the result that the floor level rises towards the rear. Theelevation is based on the principle that each listener shall be elevated with respect to theperson immediately in front of him so that the listener's head is about 12 cm above the pathof sound which passes over the head of the person in front of him. It is possible to reducethis to 8 cm, if the seats are staggered . As an empirical rule the angle of elevation of theinclined floor in an auditorium is not less than 8 degrees.


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Door and Window

Where the external noise level is high, properly fitted door and windows are provided. Theirrebates are lined with draught strip rubber or felt. In the case of existing doors and windowswhere leakage of sound is observed it is necessary to improve the fitting of the shutters and

at the same time, provide draught rubber.

Seats

The seats are arranged in concentric arch of circles drawn with the centre located as muchbehind the centre of the curtain line (curtain line) distance from the auditorium rear wall.Seats are staggered sideways in relation to those in front so that a listener in any row is notlooking directly over the head of- the person in front of him.

Reflecting surfaces are designed as to aid distribution of sound. Those areas which cause

objectionable sound reflection and are treated with sound absorbents are earmarked fortreatment with sound absorbing material. These areas are (a) the rear wall, (b) the balconyparapet, (c) any areas which may reflect sound back to the stage, (d) concave areas whichhave a tendency to focus sound in certain places, and (e) such other areas as will contributeto indirect sound arriving at any point in the theater later than 50 milliseconds after thedirect sound. The rest of the sound absorbing material introduced below are also used assound absorbing materials:

a) Acoustic plaster ( a plaster which includes granulated insulation material with cement };b) Compressed cane or wood fiberboard, imperforated and perforated;c) Wood particle board;

d) Compressed wood woo);e) Mineral/glass wool quilts and mats;f) Mineral/compressed glass wool tiles;g) Composite units of perforated hardboard backed by perforated fiberboard;h) Composite units of perforated board (hardboard, asbestos board or metal sheet)i) Special absorbers constructed of hardboard, teak ply, etc.

In an ideal theater, most of the absorption is provided by the audience. This is relativelymore in the high frequency range than in the middle or in the low frequency range. Ittherefore, becomes desirable to introduce special low frequency absorbers ( such as

wooden paneling used as wainscot or otherwise) on ceilings and walls which provide therequisite amount of absorption so as to achieve optimum reverberationtime over as wide afrequency range as possible. The amount of the absorptive materials required are calculatedon the basis of the absorption values at one or more frequencies in each of the low.

Acoustics of the halls are designed so as to ensure proper conditions for listening, assumingthat a person may speak or listen from anywhere in the theater. Optimum reverberationtime is chosen. It may be noted that too long reverberation time muffles and confuses the


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speech intelligibility while too short time prevents build-up of proper level for goodlistening. Use of sound amplification system are avoided as far as possible. But wherenecessitated, because of size or other requirements, low level loudspeakers are provided forindividual or a group of seats. Absorbent material is distributed evenly over the waIl surfacesof the theater . Ceiling is not domed and is not higher than 6 meters. Acoustical treatment

on the ceiling are confined to peripheral regions only.

Comparative analysis of Ancient Theater andModern Theater

The study of both Ancient and Modern Indian stage has drawn a lot of similarities and

differences between the design parameters and considerations of both eras. Also, the

social, political and economic conditions of two different eras has shown a lot of other

aspects of theater architecture that have remain untouched till date. The comparative

analysis of Ancient and Modern Indian Theater has a lot to convey and it can be majorly

divided as follows:

Site selection

In case of both Ancient and Modern theater architecture site selection has been a key point

of designing. It is clearly stated by Bharat Muni in Natyashastra that selection of the site has

to be done with utmost care keeping in mind that there is no skeletons, corpse, large

granules , loose soil at the site. The use of black soil by Bharat Muni states the importance of

strong and stable ground. Also it is clearly stated in Natyashatsra to have an well leveled

ground as a site.

Whereas in modern theater architecture also the most important part of designing depends

on the location and condition of the site. A noise free, well leveled and land with stable

ground is considered to be best .

Designing and Planning

Designing and planning of the theater house is the most important aspect of theater

architecture. In Natyashashtra, second chapter deals with the design aspect of the play

house. Three types of theater house (Rectangular, Square and Triangular) and each with


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three varieties (Small, Oblong and large) has been clearly mentioned in Natyashashtra. Also

the division of spaces has an important part in it. Bharat Muni has clearly mentioned about

dividing the playhouse in two equal parts and then further dividing the area containing stage

in two equal parts creating a green room behind. Also a side gallery i.e. Mattvarini is also

incorporated in Bharata's theater. Further the stage has also provided with a plinth of height1-1.5 hastas. Seating arrangement has also been mentioned clearly in Natyashashtra. A

hindrance free and non obstructing seat row is promoted by Bharat Muni. Positioning of

doors and windows have also been placed with utmost care in Bharat Muni's theater.

Positioning of doors opposite to each other has been clearly opposed by Bharat Muni.

Windows of small size is favored in Bharata's theater in order to incorporate less breeze

inside the theater house.

Bharat Muni design principles were too advanced and accurate that there traits can still be

seen in Modern Play house. Majorly whatever Natyashastra has stated all can be seen easily

in today's time. Theater house of rectangular, semicircular and square shape can be easily

seen in today's time. Theater in present days do not posses half of the space to spectators.

Generally 75% of space is provided to spectators and rest 25% space is assigned to stage and

green room area. Unlike Bharata Theater modern theater do posses a green house above

the stage. Mattavarini in Bharata's theater can be seen as a gallery attached on both the

sides of the stage meant for the installations of technical machinery such as props etc. The

plinth size of the stage posses a range of 450 to 900 mm .In today's time rigid and stable

stages are less favored. Stage with temporary fittings and sometime revolving stages can be

easily seen in present times. Semi circular seating is used in order to acquire a large

spectator space with a quality view to major people.

Acoustics

Bharat Muni's has minutely placed each design element by keeping the acoustics in mind.

With no sign of technology and advancement Bharat Muni's had a major challenge to

convey each and every single words and bhavaof the performer to the spectators. So

utmost care was taken in the use of materials and positioning of design elements. In ancient

theater wood, brick and stone were used in construction of the play house. Wood being soft

and easy to be carved was decorated with a lot of floral motifs and designs which helped in

breaking the monotony of the plain surface of the wood and resulted in creating an uneven

surface which resulted in absorbing of sounds and lessened the echo effect. Shape of the

roof was designed as that of a cave in order to provide a concave shape of the roof which

provided a depth to the roof and hence reduced the percentage of reflected sound back to

the spectators. Less number of windows and doors resulted in less hindrance and avoided

the unwanted sounds which proved to be bad for a theater performance. Windows being


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less in number also created no chance of breeze inside the theater house which also made

theater house more audible and speech friendly. Curtains and paintings were also used as

sound absorbent material. Roof were made of thatched roof which enhanced the audibility

of speech.

Same acoustics practices are still followed in today's time in modern theater. Theaters are

however made with R.C.C. but still the cladding of the materials, shape and designing of the

theaters have enhanced the acoustics of the theater from past. Rib shaped roof and false

ceiling designs have played an key role in acoustics. Various kinds of acoustic materials such

as PVC board, Hardboard etc. have helped in developing the acoustical properties of the

theater aesthetically. Also the use of carpet has been a plus point for the modern theater

houses.


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Conclusion

Theater architecture in India has gone through a journey of long human history and his

devotion towards art and theater. From the advent of life on earth human made various

ways to deliver his thoughts, beliefs and actions through art and its form. India being the

origin of first human settlement is also the first place where theater started. In Greece when

theater was started, India was full of theater activities and enriched with ethnic literature

and tradition.

As time passed a lot of changes evolved in Indian culture and social conditions. With the

start of foreign invasion, Indian culture had a turmoil and as a result theater arts were also

affected. From the theater of Bharat Muni till the theater of 21st century a lot of things have

changed and evolved with the time period. Indian being a country rich with its ethnic folk

arts and traditions has a enriched theater history and the changes from the tide of time has

evoked a spark of change in its culture a lot.

With the advancement of British in India technology arrived; and that can be easily seen in

the theater of our modern cities in present times. Cities like Delhi, Mumbai, Chennai and

Kolkata theater houses have evolved a lot. The theaters we see in these cities deliver the

story of change in the spectators, performers and theater space. With this study it is clear

that what Bharat Muni mentioned in Natyashashtra was based on the Vedic traditions andcustoms. This fact also cannot be denied that whatever Bharat Muni mentioned was totally

depended upon the social, economic and political conditions of that time. But when we

bring the studies of Bharat Muni in the light of 21st century we find that the studies made by

him were the epitome of advancement, extensive study and far sightedness what he had.

Theater arts, construction technology and aesthetics based by Bharat Muni's Natyashashtra

holds the same position today what they held in ancient India. It is excepted that the cultural

division of caste, creed and race that has been depicted in ancient theater arts are not to be

taken in serious note but at the same time it is to be also seen that the studies of Bharat

Muni if incorporated by with advance building techniques, acoustics, aesthetics and smartflexible design it will lead to the birth of a theater house which would be grounded on the

principles of ancient techniques and theater arts and its structure will be based upon the

modern technology and the needs of the both performers and spectators.


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Case Studies


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Prithvi Theater, Juhu

Prithvi Theatreis one of Mumbai's best knowntheatres located in Juhu. It was built

byShashi Kapoor in memory of his fatherPrithviraj Kapoorwho had dreamt of having a

"home" for his repertory theatre company, Prithvi Theatres belongs to theKapoor family,

one of the most influential actor/director families inBollywood.Prithviraj Kapoor founded

'Prithvi Theatres', a travelling theatre company in 1944. The company ran for sixteen

years. Ved Segan was the architect who designed and built the Theatre with the supervision

of Jennifer Kapoor, Shashi Kapoor's wife.

A view of Prithvi Theater. Built in 1978

by Shashi Kapoor
http://en.wikipedia.org/wiki/Theatrehttp://en.wikipedia.org/wiki/Shashi_Kapoorhttp://en.wikipedia.org/wiki/Prithviraj_Kapoorhttp://en.wikipedia.org/wiki/Prithviraj_Kapoorhttp://en.wikipedia.org/wiki/Prithviraj_Kapoorhttp://en.wikipedia.org/wiki/Kapoor_familyhttp://en.wikipedia.org/wiki/Bollywoodhttp://en.wikipedia.org/wiki/Prithviraj_Kapoorhttp://en.wikipedia.org/wiki/Prithviraj_Kapoorhttp://en.wikipedia.org/wiki/Bollywoodhttp://en.wikipedia.org/wiki/Kapoor_familyhttp://en.wikipedia.org/wiki/Prithviraj_Kapoorhttp://en.wikipedia.org/wiki/Shashi_Kapoorhttp://en.wikipedia.org/wiki/Theatre


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Stage Description

Prithvi Theater comprises of one stage which only deals with theatrical performances since

1980. It is a Thruststage. The auditoriumhas dimension of 12mt x11mt. The central stagehas

a dimension of 7mtx4mt . It has a seating arrangement of five rows each having a height of

450mm. It has a seating capacity of 220 individuals. The central stage has the height of

150mm. Total height of the theater is 4.5 mt.

Images showing the inside layout of the theater and the central stage of the Prithvi Theatre


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Material

The stage is constructed with the teakwood panels. Hollow inside stage has a good sound

absorbing qualities which reduces the tapping sound of the artist.

The background of the stage is semi circular in shape and black in color. Its permanent innature. Jute mats are there on the floor everywhere except the central stage.

The walls of the theater are black in color wrapped with cotton cloth and covered with

acoustic mineral board all over. The all three walls except the background are made uneven

in nature by using the wooden panels of different thicknesses.

Acoustics & Lighting

The acoustics of the theater are good enough. As the usage of mike is prohibited for theater

actors it becomes quite easy for an old acoustics systems to tackle the problems related toacoustics.

The depth of the theater is apt n appropriate and as a result a good quality of speech is

received by the audience present inside.

Lighting systems inside the theater are excellent. Good sets of focus lights are present there

above the central stage. Theater artists are accompanied well with the help of lights during

the play.


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Tata Theater

Tata Theatreis a 1010 seat premier staging facility for music, dance and drama at

theNCPA complex in downtownMumbai,and is the brainchild of Dr. J.J. Bhabha. It is Indiasfirst theatre designed and built keeping in mind the unique acoustic and visual requirements

for the staging of Indian music, dance and related art forms, and was constructed by Larsen

& Toubro Limited.

Theatre without proscenium; fan-shaped amphitheatre with excellent acoustics. Suitable for

chamber music concert, dance, drama and film screening. Centrally air-conditioned

Keeping in mind the traditional seating requirements at Indian classical musical concerts and

performances, the Tata Theatre stage is built in the almost semi-circular thrustshape. The

alternate concave and convex triangular forms on the overhead and the wall panelings

ensure even distribution of acousticsover the entire auditorium. The acoustic forms of high-

density compressed plaster were handmade and lifted manually up into their positions. The
http://en.wikipedia.org/wiki/National_Centre_for_the_Performing_Arts_(India)http://en.wikipedia.org/wiki/Mumbaihttp://en.wikipedia.org/wiki/Mumbaihttp://en.wikipedia.org/wiki/National_Centre_for_the_Performing_Arts_(India)


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architects ensured that every musical instrument played in the orchestra could individually

be heard and appreciated in every corner of the auditorium.

It effortlessly combines the intimate ambience of a small-scale venue with the

splendor of a full scale arena . A revolving stage, brilliant acoustics and a foyer

with a breathtaking view of the sea are just some of the things that make the TataTheatre the venue of choice for both, performers and audiences.

Created by the renowned American Modernist architect Philip Johnsonand the

legendary acoustician Cyril Harris, this theatre opened in 1982. Today, it is

Mumbai's preferred venue for Indian classical concerts, Western chamber music

and theatre.

Tata Theater Foyer

Entrance PorchInside View


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National School of Drama

National School of Drama(NSD) is a theatre training institute situated atNew Delhi,India.Itis an autonomous organization underMinistry of Culture,Government of India.It was set upin 1959 by theSangeet Natak Akademi,and became an independent school in 1975. In 1975 itbecameautonomous organization, under the erstwhile Ministry of Education and Ministry ofCulture, Department of Culture, with the name 'National School of Drama' and relocated inMay 1975, to its present premises atBahawalpur House,the residence ofBahawalpur a

formerprincely state,now in Pakistan, also known as Mandi House. In 1999, the Schoolorganized its first National Theatre Festival, 'Bharat Rang Mahotsav, generally held duringthe second week of January each year.

The schools has three auditorium within the campus:

Abhimanch AuditoriumSammukh AuditoriumBahumukh Auditorium

Abhimanch Auditoriumis the biggest performing space at NSD. It has a seating capacity of

350 persons. It is a Thruststage. The auditoriumhas dimension of 20mt x40mt. The centralstagehas a dimension of 7mtx4mt . It has a seating arrangement of sixteen rows eachhaving a height of 450mm. The central stage has the height of 450mm. Total height of thetheater is 4 mt.
http://en.wikipedia.org/wiki/New_Delhihttp://en.wikipedia.org/wiki/Indiahttp://en.wikipedia.org/wiki/Ministry_of_Culture_(India)http://en.wikipedia.org/wiki/Government_of_Indiahttp://en.wikipedia.org/wiki/Sangeet_Natak_Akademihttp://en.wikipedia.org/wiki/Autonomous_entityhttp://en.wikipedia.org/wiki/Bahawalpur_Househttp://en.wikipedia.org/wiki/Bahawalpur_(princely_state)http://en.wikipedia.org/wiki/Princely_statehttp://en.wikipedia.org/wiki/Princely_statehttp://en.wikipedia.org/wiki/Bahawalpur_(princely_state)http://en.wikipedia.org/wiki/Bahawalpur_Househttp://en.wikipedia.org/wiki/Autonomous_entityhttp://en.wikipedia.org/wiki/Sangeet_Natak_Akademihttp://en.wikipedia.org/wiki/Government_of_Indiahttp://en.wikipedia.org/wiki/Ministry_of_Culture_(India)http://en.wikipedia.org/wiki/Indiahttp://en.wikipedia.org/wiki/New_Delhi


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The stage is constructed with hardwood timber flooring, hollow from inside. It has a plinthof 450 mm. It is covered with red carpet all over. The rear wall is square in shape, black incolor and flexible to be changed according to various plays that take place. The auditorium iscentrally air conditioned with four doors; two for spectators and two for performers. Nowindows are there in the auditorium.

The seating area is divided into two parts; one with upper level and other with lower level.Lower level has a seating arrangement of concave shape and upper level has straightseating.

The walls are prepared in a simple manner. The materials used for the walls are stone(marbles), pop etc. The special acoustic forms are made up of high density compressedplaster(P.O.P) for the ceiling. Wooden panels are also used in the auditorium. These panelsare filled with coconut hair as it is a good reflector.


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Vishnudas Bhave Natyagriha, Mumbai

Vishnudas Bhave Natyagriha is located in Sector 16, Vashi, Navi Mumbai. The site occupies anarea of 51,000 sq. ft. of built-up space. The site lies in a residential cum commercial areaVishnudas Bhave auditorium was designed was opened in 1997.

Major hub for various theatre and other cultural activities.

It is a fan shaped theater.

The theatre has a rotating stage.

It has a capacity of 1072 viewers in two tiers.

It has excellent acoustics.

The theater also has a balcony level seating's.

The theatre is centrally air-conditioned.The height of the auditorium is 12mThe total seating capacity of the theatre is 1500.The theatre is fan shaped, hence the seating arrangement is divided into 4 segments.


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Bibliography

The Natyasastraascribed to Bharata-Muni, Vol.1 ed. by M.Ghosh, Calcutta, 1967.

The Natyasastra : A Treatise on Hindu Dramaturgy and Histrionics Ascribed toBharata-Muni, translated by M.Ghosh, Calcutta, Vol.1 (2.ed.) 1967 and Vol.2, 1961.

Raghavan, V.: Theatre Architecture in Ancient India, in The Theatre of the Hindus,by H.H. Wilson, V. Raghavan, K.R. Pisharoti, A.C. Vidyabhusan, Delhi-Varanasi, s. d.

Keith, A.B.: The Sanskrit Drama, Oxford, 1970 (1.ed.1924).

Hemendra Gupta : Indian Stage, Calcutta, 1959

Baumer, Rachel Van M. and James R. Brandon. eds. Sanskrit Drama in Performance.

Gargi, Balwant. Folk Theater of India. Seattle: University of Washington Press, 1966.

Theatre in India. New York: Theatre Arts Books,1958

The Natyasastra of Bharata. Ph.D Dissertation. University of Wisconsin, 1967.

Richmond, Farley P., Darius L. Swan and Phllip B. Zarrilli. Indian Theatre, Traditionsof Performance. Honolulu: University of Hawaii Press, 1990.

Varadapande, M. L. Invitation to Indian Theatre. New Delhi: Arnold Publishers, 1989.

Traditions of Indian Theatre. New Delhi: Abhinav Publications, 1979.

Vatsyayan, Kapila. Bharata: The Natyasastra. New Delhi: Sangeet Natak Akademi,1996.

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