Manasara Series (I. A Dictionary of Hindu Architecture; II. Indian Architecture according to Manasara-Shilpashastra; III. Manasara on Architecture and Sculpture: Sanskrit Text; IV. Architecture of Manasara: Translation; V. Architecture of Manasara: Illustrations; VI. Hindu Architecture in India and Abroad; VII. An Encyclopaedia of Hindu Architecture) v7.c47.3287

v7.c47.3287

It was also required to mourn one’s death and similar sad incidents including even calamities as like earthquakes and epidemics. Religious ceremonies had to be accompanied by music. These musics include both vocal and instrumental songs, dancing, and enacting of plays varying from a single act or scene to a performance which continued for days and nights. Thus the elements of drama are available in the earliest *Vedas*. The excavations at Mahenjo-Daro, Harappa and other sites may supply evidence of regular theatre even for the Pre-Vedic period. In order to carry out into practice the musical habit of the Hindus, which was so convincingly in existence for milleniums, no doubt suitable accommodation had to be found out by indigenous efforts and evolution. It would be the limit of prejudice to imagine that although the Hindus knew all about a dramatic performance and although the art of building was understood and successfully practised at least between 3000 and 4000 B. C. when Mahenjo-Daro edifices might have been erected, yet they did not think of constructing a playhouse even after the model of the then existing natural caves until the Grecian invaders supplied the pattern between 300 and 350 B. C. Those who are not thus prejudiced will find it easy to infer from the evidences quoted above and to come to the conclusion that there were in Hindu India rustic theatres for folk dance or popular performance, as well as regularly constructed playhouses of various shapes and sizes. They were built with scientific knowledge of acoustics, light, ventilation, safety and security. They were erected in villages, small country towns, centres of pilgrimages, and in big capital cities. They were attached to commodious dwelling houses, king’s palaces, and god’s temples. In all these constructions provisions were distinctly made for the stage proper and the auditorium. The former comprised the platform with a thick drop scene in front and the theatre proper with various realistic sceneries and curtains behind which even semi-nude dance could be performed, the indecency being prevented by the mistiness caused by the device of thin curtains and light. The green-rooms and other rooms were made for dressing and resting of the actors and actresses, and even for an interview with them by some fascinated audience. The auditorium with the orchestra in front provided seats for all classes and ranks of audience, which were artistically arranged in tiers and galleries. It was adorned with beautiful doors, windows, balconies, and walls and ceilings with carvings and paintings on them. There were also open air auditorium with surrounding walls and terraces which latter served as galleries. But the stage appears never to have been uncovered either on the sides or at the top.¹