Vada in Theory and Practice: Studies in Debates, Dialogues and Discussions in Indian Intellectual Discourses c10.s8: Naṭāṅkuśa: A Vāda with the Cākyārs
Vāda in Theory and Practice: Studies in Debates, Dialogues and Discussions in Indian Intellectual Discourses c10.s8
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Naṭāṅkuśa: A Vāda with the Cākyārs
c10.s8.1
The theatre practices of the *cākyārs* (actors of the Sanskrit theatre — *kūṭiyāṭṭam*) are severely criticized in the fifteenth century ᴄᴇ by the anonymous author of *Naṭāṅkuśa* from Kerala. The author of *Naṭāṅkuśa* is a puritan and applies his vast Śāstric knowledge for the condemnation of the liberties and improvisational techniques of the *cākyārs* on the Kerala theatre. He stands for a faithful presentation of the play of an author according to the regulations of *Nāṭyaśāstra*. Presenting a critique of the performance of some of the great classical plays like *Āścaryacūḍāmaṇi* of Śaktibhadra and *Pratijñāyaugandharāyaṇa* of Bhāsa by the *cākyārs*, he makes a scene by scene threadbare analysis of the transgressions and violation of the norms done by the performers. His criticism involves moral issues and the question of freedom of the performer. The following practices of the *cākyārs* are specially rejected by him:
c10.s8.2
1. Deliberate introduction of regional language (Malayalam) in addition to the dialogues in Sanskrit and Prākṛt,
2. interpretative method of performance — piecing out each and every word by the *cākyār* and enacting it, instead of cumulative and integrated performance,
3. the interference of *vidūṣaka*, his unnecessary presence on the stage continuously for hours and several days,
4. addition of dances,
5. one actor performing many roles in violation to the intention of the dramatist,
6. social criticism by the *cākyārs* — humiliation of the brahmaṇas, and
7. reconstruction of the play by the way of creating a sub text.
c10.s8.3
*Naṭāṅkuśa* is perhaps the most colossal exercise of generating *vāda* on an actual theatre practice — and that too of a very powerful theatre form — *kūṭiyāṭṭam* of the *cākyārs* of Kerala. No doubt the author is a great scholar, he cites *Nāṭyaśāstra* and several other texts very much authentically. The whole text is a single-handed attack; but the *pūrva-pakṣa* — the prima-facie view as the *cākyār* might have put up in his defence is also taken up extensively and then refuted point by point.
c10.s8.4
*Naṭāṅkuśa* is one of the most damaging, satirical and provoking texts in debate. It is a deconstruction of a very developed theatre form through a kind of bombardment of Śāstric knowledge as well as narrow ethical considerations of purity. The author is aware of the popularity of *kūṭiyāṭṭam* theatre and also of the fact that his efforts to convince the actors are going to be wasted. He says:
c10.s8.5
The discussions of this type with the *śailūṣas* (the degraded performers) will not yield any result. They just keep the words and meaning in their own hands (to use them in whatever way they like).²⁷
Linked texts (3)
- Nāṭyaśāstra — Bharata, Sanskrit
- Pratijñāyaugandharāyaṇa — Bhāsa, Sanskrit
- Āścaryacūḍāmaṇi — Śaktibhadra, Sanskrit