Kālidāsa was a Gupta era, Classical Sanskrit author and playwright. His plays and poetry are primarily based on Hindu Puranas and philosophy. His surviving works consist of three plays, two epic poems and two shorter poems.
Koodiyattam is a traditional performing art form in the state of Kerala, India. It is a combination of ancient Sanskrit theatre with elements of Koothu, an ancient performing art from the Sangam era. It is officially recognised by UNESCO as a Masterpiece of the Oral and Intangible Heritage of Humanity.
The term Indian classical drama refers to the tradition of dramatic literature and performance in ancient India. The roots of drama in the Indian subcontinent can be traced back to the Rigveda, which contains a number of hymns in the form of dialogues, or even scenes, as well as hymns that make use of other literary forms such as animal fables However, Indian drama begins its classical stage in the 3rd-4th century BCE with the composition of the Nātyaśāstra. Indian classical drama is regarded as the highest achievement of Sanskrit literature.
Abhijñānaśākuntalam, also known as Shakuntala, The Recognition of Shakuntala, The Sign of Shakuntala, and many other variants, is a Sanskrit play by the ancient Indian poet Kālidāsa, dramatizing the story of Śakuntalā told in the epic Mahābhārata and regarded as best of Kālidāsa's works. Its exact date is uncertain, but Kālidāsa is often placed in the 4th century CE.
Guru Mani Madhava Chakyar (15 February 1899 – 14 January 1990) was a celebrated master performance artist and Sanskrit scholar from Kerala, India, considered to be the greatest Chakyar Koothu and Koodiyattam artist and authority of modern times. He was considered as the authority of Abhinaya and Nātyaśāstra.
Bhāsa is one of the earliest and most celebrated Indian playwrights in Sanskrit, predating Kālidasa. His name was already well-known by the 1st century BCE and he belongs to the late-Mauryan period at the earliest, but the thirteen plays attached to his name are commonly dated closer to the first or second century CE.
Kāvya refers to the Sanskrit literary style used by Indian court poets flourishing between c.200 BCE and 1200 CE.
Kavalam Narayana Panicker was an Indian dramatist, theatre director, and poet. He has written over 26 Malayalam plays, many adapted from classical Sanskrit drama and Shakespeare, notably Kalidasa's Vikramorvasiyam, Shakuntalam (1982), Bhasa's Madhyamavyayogam (1979), Karnabharam, Uru Bhangam (1988), Swapnavasavadattam, and Dootavakyam (1996). He was the founder – director of theatre troupe, Sopanam, which led to the foundation of Bhashabharati: Centre for Performing Arts, Training and Research, in Trivandrum.
Theatre of India is one of the most ancient forms of theatre and it features a detailed textual, sculptural, and dramatic effects which emerged in mid first millennium BC. Like in the areas of music and dance, the Indian theatre is also defined by the dramatic performance based on the concept of Nritya, which is a Sanskrit word for drama but encompasses dramatic narrative, virtuosic dance, and music. Historically, Indian theatre has exerted influence beyond its borders, reaching ancient China and other countries in the Far East.
Ambale Ramakrishna Krishnashastry (1890–1968) was an Indian writer, researcher and translator in the Kannada language. Krishnashastry has remained popular four decades after his death through his work Vachana Bharata, and his narration of the Hindu epic Mahabharata in the Kannada.
Ratan Thiyam is an Indian playwright and theatre director, and the winner of Sangeet Natak Akademi Award in 1987, one of leading figures of the "theatre of roots" movement in Indian theatre, which started in the 1970s. Also known as Thiyam Nemai, Ratan Thiyam is known for writing and staging plays that use ancient Indian theatre traditions and forms in a contemporary context. A former painter, and proficient in direction, design, script and music, Thiyam is often considered one of leading contemporary theatre gurus.
Nandikeshvara was a major theatrologist of ancient India. He was the author of the Abhinaya Darpanalit. 'The Mirror of Gesture'.
Shudraka was an Indian playwright, to whom three Sanskrit plays are attributed: Mrichchhakatika, Vinavasavadatta, and a bhana, Padmaprabhritaka. According to the prologue of Mrichchhakatika, he was a king; according to one theory, he may have been a third century Abhira king. According to another theory, Shudraka is a mythical figure, and the authorship of plays attributed to him is uncertain.
Ammannur Madhava Chakyar was a master of Kutiyattam, the classical Sanskrit theatrical form indigenous to Kerala. He is best known for taking the performances from the temple sanctuaries where they were formerly confined and making them public events.
Urubhanga or Urubhangam,, is a Sanskrit play written by Bhasa in the 2nd or 3rd century CE. Based on the well-known epic, the Mahābhārata, by Vyasa, Urubhanga focuses on the story of the character Duryodhana during and after his fight with Bhima. Although Urubhanga contains the same core storyline as that in the Mahābhārata, Bhasa's altering of certain aspects results in a different presentation of the story. The most extreme of these alterations is Bhasa's portrayal of Duryodhana, who, in the Mahābhārata, is viewed as a villain, but in Urubhanga is given more human qualities. Bhasa's presentation of Duryodhana's side of the tale adds certain tragic elements to the play.
Prem Lata Sharma, 10-05-1927 to 05-12-1998, was an Indian musicologist.
Karṇabhāram or The Anguish of Karna is a Sanskrit one-act play written by the Indian dramatist Bhasa, an Indian playwright complimented even by the Kalidasa in the beginning of his play Malavikagnimitram. The play describes the mental pain of Karna on the previous day of the Kurukshetra War. Karṇabhāram is essentially the retelling of an episode of the Indian epic Mahabharata but the story is presented in a different perspective in the play. It is perhaps the only potential tragedy in the classic Sanskrit literature, presented in a form that comes closest to the "Vyayoga" form of one-act play. That is so perhaps because the Natya Shastra ordains the playwrights to create plays for recreation, and essentially create happy endings. In Karnabharam, the tragedy does not occur on-stage. Karnabharam shows the valiant, generous, righteous Karna riding out towards the battle-ground, where his death under heart-wrenching circumstances is certain. The basic plot of this play is inspired by Mahabharata.
Sudhanshu Chaturvedi is a writer, translator and academic from Uttar Pradesh, India. He has authored or translated over 120 books in Malayalam, Hindi, Sanskrit and English. Even though his mother tongue is Hindi, he has written most of his books in Malayalam.
