&
57 f
I
actions are acquired by' imitation. The method of dramatic [,
art is imitation in the way of action.
" In all likelihood, the germ of the dramatic representations of the Hindus as of the Greeks is to be sought for in public exhibitions of dancing, which consisted at first of simple ^movements of the body executed in harmony with singing and music. Very soon dancing was extended to include pantomimic gesticulations accompanied with more elaborate -musical performances, and these gesticulations were aided by •occasional exclamations between the intervals of singing. .Finally natural language took the place of music and singing, while gesticulation became merely subservient to emphasis in dramatic dialogue." (Monier Williams).
The terms denoting the drama and acting are derived from the same root *nat? Besides the fact of the identity of derivation, the Dasarupa says, "Acting is the imitation of •conditions ; Riipa is so called because it is to be seen, and Rupctka from the artificial assumption of forms by actors." Corresponding to the several stages in the development of Sanskrit dramas, five modes of early dramatic representation are noted :—
(i) Nqtya or dramatic representations proper. . (ii) Nritya or gesticulation without language.
(iii) Nritta or pure dancing without any admixture of
gesture or language.
7} & (v) Tandava and Lasya : These were merely styles of dancing, the former being so named from Tandu an attendant of Siva whom the God instructed in it, '.. while.the other was "taught by Parvati to the . . princess TJslia, who. instructed the Gopis of Dwaraka,as a greater grace and melody about his verse. " •/:-'.. . • ' ' . : .; .". <