The Sanskrit Drama in its Origin, Development, Theory & Practice c20.s3.38

c20.s3.38

Importance attaches to the conventions which enable the author to surmount difficulties inseparable from the dramatic form.² Normally, of course, the actors speak aloud (*prakāçam*), to be heard by all those on the stage as well as by the audience, but asides (*svagatam*, *ātmagatam*) are frequent, meant to be heard by the audience alone. If the need arises for making a remark to be heard by one actor only, it is made in the form of a confidence (*apavāritam*, *apavārya*), while a private conversation (*janāntikam*) is arranged by the actors holding up three fingers, the thumb and ring finger being curved inwards. Or, it is possible to avoid bringing on a person by speaking in the air (*ākāçabhāṣita*), pretending to hear the reply, and repeating it before answering it, while a similar purpose can be served by a voice from behind the scene.