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114-588: 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

228-621: A homeostatic mechanism to regulate and stabilize social institutions by adjusting social interactions , maintaining a group ethos , and restoring harmony after disputes. Although the functionalist model was soon superseded, later "neofunctional" theorists adopted its approach by examining the ways that ritual regulated larger ecological systems. Roy Rappaport , for example, examined the way gift exchanges of pigs between tribal groups in Papua New Guinea maintained environmental balance between humans, available food (with pigs sharing

342-416: A British Functionalist, extended Turner's theory of ritual structure and anti-structure with her own contrasting set of terms "grid" and "group" in the book Natural Symbols . Drawing on Levi-Strauss' Structuralist approach, she saw ritual as symbolic communication that constrained social behaviour. Grid is a scale referring to the degree to which a symbolic system is a shared frame of reference. Group refers to

456-522: A Director of this team handling the institution. 1st millennium BC World population roughly doubled over the course of the millennium, from about 100 million to about 200–250 million. The Neo-Assyrian Empire dominates the Near East in the early centuries of the millennium, supplanted by the Achaemenid Empire in the 6th century. Ancient Egypt is in decline, and falls to

570-537: A cultural order on nature. Mircea Eliade states that the calendrical rituals of many religious traditions recall and commemorate the basic beliefs of a community, and their yearly celebration establishes a link between past and present, as if the original events are happening over again: "Thus the gods did; thus men do." This genre of ritual encompasses forms of sacrifice and offering meant to praise, please or placate divine powers. According to early anthropologist Edward Tylor, such sacrifices are gifts given in hope of

684-419: A diverse range of rituals such as pilgrimages and Yom Kippur . Beginning with Max Gluckman's concept of "rituals of rebellion", Victor Turner argued that many types of ritual also served as "social dramas" through which structural social tensions could be expressed, and temporarily resolved. Drawing on Van Gennep's model of initiation rites, Turner viewed these social dramas as a dynamic process through which

798-427: A fixed period since an important event. Calendrical rituals give social meaning to the passage of time, creating repetitive weekly, monthly or yearly cycles. Some rites are oriented towards a culturally defined moment of change in the climatic cycle, such as solar terms or the changing of seasons, or they may mark the inauguration of an activity such as planting, harvesting, or moving from winter to summer pasture during

912-452: A four-volume analysis of myth) but was influential to later scholars of ritual such as Mary Douglas and Edmund Leach . Victor Turner combined Arnold van Gennep 's model of the structure of initiation rites, and Gluckman's functionalist emphasis on the ritualization of social conflict to maintain social equilibrium, with a more structural model of symbols in ritual. Running counter to this emphasis on structured symbolic oppositions within

1026-419: A hiatus in his knowledge or in his powers of practical control, and yet has to continue in his pursuit.". Radcliffe-Brown in contrast, saw ritual as an expression of common interest symbolically representing a community, and that anxiety was felt only if the ritual was not performed. George C. Homans sought to resolve these opposing theories by differentiating between "primary anxieties" felt by people who lack

1140-445: A human response. National flags, for example, may be considered more than signs representing a country. The flag stands for larger symbols such as freedom, democracy, free enterprise or national superiority. Anthropologist Sherry Ortner writes that the flag does not encourage reflection on the logical relations among these ideas, nor on the logical consequences of them as they are played out in social actuality, over time and history. On

1254-643: A kind of popular theatre form that exist mainly in Assam . For staging their plays, theatre groups travel different places with their casts, singers, musicians, dancers and entire crew. Even the tent and chairs for the audience are carried with them. Mobile theatre was first staged on 2 October 1963 in Pathsala , Assam. Achyut Lahkar is known as the father of mobile theatre. Mobile theatre in Salempur Deoria Eastern Uttar Pradesh

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1368-412: A legitimate communal authority that can constrain the possible outcomes. Historically, war in most societies has been bound by highly ritualized constraints that limit the legitimate means by which war was waged. Activities appealing to supernatural beings are easily considered rituals, although the appeal may be quite indirect, expressing only a generalized belief in the existence of the sacred demanding

1482-646: A limited and rigidly organized set of expressions which anthropologists call a "restricted code" (in opposition to a more open "elaborated code"). Maurice Bloch argues that ritual obliges participants to use this formal oratorical style, which is limited in intonation, syntax, vocabulary, loudness, and fixity of order. In adopting this style, ritual leaders' speech becomes more style than content. Because this formal speech limits what can be said, it induces "acceptance, compliance, or at least forbearance with regard to any overt challenge". Bloch argues that this form of ritual communication makes rebellion impossible and revolution

1596-412: A means of resolving social passion, arguing instead that it simply displayed them. Whereas Victor Turner saw in ritual the potential to release people from the binding structures of their lives into a liberating anti-structure or communitas, Maurice Bloch argued that ritual produced conformity. Maurice Bloch argued that ritual communication is unusual in that it uses a special, restricted vocabulary,

1710-522: A new form of political theatre called the Third Theatre. Badal Sarkar's anti-establishment experimental theatre created a new genre of social enlightenment. He formed his first Third Theatre Group satabdi, in the year 1967. They used to perform Drama written by Badal Sircar in Anganmancha (theatre in the courtyard) in the Third Theatre form that break away from the tradition of One point view of

1824-411: A number of conflicting definitions of the term. One given by Kyriakidis is that a ritual is an outsider's or " etic " category for a set activity (or set of actions) that, to the outsider, seems irrational, non-contiguous, or illogical. The term can be used also by the insider or " emic " performer as an acknowledgement that this activity can be seen as such by the uninitiated onlooker. In psychology ,

1938-463: A particular type. Kālidāsa is arguably considered to be India 's greatest Sanskrit dramatist, writing in the ca. 4th century CE-ca. 5th century CE. Three famous romantic plays written by Kālidāsa are the Mālavikāgnimitram ( Mālavikā and Agnimitra ), Vikramuurvashiiya ( Pertaining to Vikrama and Urvashi ), and Abhijñānaśākuntala ( The Recognition of Shakuntala ). The last was inspired by

2052-1079: A record 96 shows in cities like Mumbai, Delhi, Rishikesh, Agra, Varanasi, Patna, Sonpur Mela Gorakhpur, near by areas in eastern UP among others. The creations has won many awards and recognitions for its team through leading organisations Its creations revolve around famous mythological and historical personalities and stories like, Ramayana (7 to 9 days play) 56 places, and 9 days in Surinaam, Guyana, Trinidad &Tobago iof caribbion countries Bhagwata (7 days play) two places, Kabir (32 places), Harishchandra Taramati, (32 Places), Utho Ahilya (36 places) and Sri Krishna (Three places). And also perform popular plays from Hindi literature including Kaptan Sahab (31), Court Marshall (1), Saiyyan Bhaye Kotwal (22), Muvaavaje (2), Bakari (2), Bade Bhai Saheb (63), Kafan (12), Bholaram ka jeev (17), Satgati (2), Boodhi kaaki (3), kakha ga kaa chakkar (7), Jago grahak jaago (3) etc. among other presentations based on famous literary geniuses like Munshi Premchand, Bhikaari Thakur, etc.Manvendra Tripathi as

2166-399: A return. Catherine Bell , however, points out that sacrifice covers a range of practices from those that are manipulative and "magical" to those of pure devotion. Hindu puja , for example, appear to have no other purpose than to please the deity. According to Marcel Mauss , sacrifice is distinguished from other forms of offering by being consecrated, and hence sanctified. As a consequence,

2280-421: A ritual was his exploration of the liminal phase of rites of passage, a phase in which "anti-structure" appears. In this phase, opposed states such as birth and death may be encompassed by a single act, object or phrase. The dynamic nature of symbols experienced in ritual provides a compelling personal experience; ritual is a "mechanism that periodically converts the obligatory into the desirable". Mary Douglas ,

2394-470: A shared "poetics"). These rituals may fall along the spectrum of formality, with some less, others more formal and restrictive. Csordas argues that innovations may be introduced in less formalized rituals. As these innovations become more accepted and standardized, they are slowly adopted in more formal rituals. In this way, even the most formal of rituals are potential avenues for creative expression. In his historical analysis of articles on ritual and rite in

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2508-399: A small number of permissible illustrations, and a restrictive grammar. As a result, ritual utterances become very predictable, and the speaker is made anonymous in that they have little choice in what to say. The restrictive syntax reduces the ability of the speaker to make propositional arguments, and they are left, instead, with utterances that cannot be contradicted such as "I do thee wed" in

2622-595: A spectrum: "Actions fall into place on a continuous scale. At one extreme we have actions which are entirely profane, entirely functional, technique pure and simple; at the other we have actions which are entirely sacred, strictly aesthetic, technically non-functional. Between these two extremes we have the great majority of social actions which partake partly of the one sphere and partly of the other. From this point of view technique and ritual, profane and sacred, do not denote types of action but aspects of almost any kind of action." The functionalist model viewed ritual as

2736-515: A story in the Mahabharata and is the most famous. It was the first to be translated into English and German. Śakuntalā (in English translation) influenced Goethe's Faust (1808–1832). The next great Indian dramatist was Bhavabhuti (c. 7th century CE). He is said to have written the following three plays: Malati-Madhava , Mahaviracharita and Uttar Ramacharita . Among these three,

2850-458: A wedding. These kinds of utterances, known as performatives , prevent speakers from making political arguments through logical argument, and are typical of what Weber called traditional authority instead. Bloch's model of ritual language denies the possibility of creativity. Thomas Csordas, in contrast, analyzes how ritual language can be used to innovate. Csordas looks at groups of rituals that share performative elements ("genres" of ritual with

2964-468: Is Swang , which is dialogue-oriented rather than movement-oriented and is considered to have arisen in its present form in the late 18th – early 19th centuries. Yakshagana is a very popular theatre art in Karnataka and has existed under different names at least since the 16th century. It is semi-classical in nature and involves music and songs based on carnatic music , rich costumes, storylines based on

3078-473: Is "holder of the strings or threads". The performers were trained rigorously in vocal and physical technique. There were no prohibitions against female performers; companies were all-male, all-female, and of mixed gender. Certain sentiments were considered inappropriate for men to enact, however, and were thought better suited to women. Some performers played characters their own age, while others played ages different from their own (whether younger or older). Of all

3192-612: Is a popular folk theatre form of Gujarat , said to have arisen in the 14th century AD. Bhaona and Ankiya Nats have been practicing in Assam since the early 16th century which were created and initiated by Mahapurusha Srimanta Sankardeva . Jatra has been popular in Bengal and its origin is traced to the Bhakti movement in the 16th century. Another folk theatre form popular in Haryana , Uttar Pradesh and Malwa region of Madhya Pradesh

3306-539: Is a product of vigorous performing tradition. Iqbal Niyazi of Mumbai has written several plays in Urdu. His play, "Aur Kitne Jalyanwala BaughU??" won National award other awards. Hence this is the only generation after Amanat and Agha Hashr who actually write for stage and not for libraries. An upcoming group Aatrangi Pitaara Foundation is actively performing and saving Hindustani Theatre. Their presentation of Anti-National Ghalib written by Danish Iqbal has been well received by

3420-469: Is also referred to as Native theatre, features a theatrical approach that has been viewed as an intersection of Indian social space with Western theater formats and conventions . The resulting theatrical space is described to be existing at the material, symbolic, and discursive levels. To resist its use by Indians as an instrument of protest against colonial rule, the British Government imposed

3534-519: Is because the woman has come too closely in touch with the 'man's side' in her marriage that her dead matrikin have impaired her fertility." To correct the balance of matrilinial descent and marriage, the Isoma ritual dramatically placates the deceased spirits by requiring the woman to reside with her mother's kin. Shamanic and other ritual may effect a psychotherapeutic cure, leading anthropologists such as Jane Atkinson to theorize how. Atkinson argues that

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3648-433: Is bodily discipline, as in monastic prayer and meditation meant to mold dispositions and moods. This bodily discipline is frequently performed in unison, by groups. Rituals tend to be governed by rules, a feature somewhat like formalism. Rules impose norms on the chaos of behavior, either defining the outer limits of what is acceptable or choreographing each move. Individuals are held to communally approved customs that evoke

3762-402: Is deeply routed within its social, economical, cultural, and religious views. For this reason it is essential to understand Indian cultural practices as they relate directly to performers and performances of this time. Performances including dance, music, and text are an expression of devotion for the Indian culture, so when looking at 'theatre' of this time a broader definition must be ascribed to

3876-956: Is in the Pre-Roman Iron Age . In East Africa, the Nubian Empire and Aksum arise. In South Asia, the Vedic civilization gives rise to the Maurya Empire . The Scythians dominate Central Asia. In China, the Zhou dynasty rules the Chinese heartland at the beginning of the millennium. The decline of the Zhou dynasty during Spring and Autumn period and the Warring States period sees the rise of such philosophical and spiritual traditions as Confucianism and Taoism . Towards

3990-517: Is largely used for educational, interventional and entertainment purposes. The traces of Improvisational theatre in India dates back to the 1990s with the advent of Forum theatre with Janasanskriti under the leadership of Sanjoy Ganguly. After that in 1999, a team from the US with Bev Hoskins and Mary Good introduced Playback theatre to India. Thus Playback theatre and Forum theatre began to take its shape in

4104-569: Is not their central feature. For example, having water to drink during or after ritual is common, but does not make thar ritual a water ritual unless the drinking of water is a central activity such as in the Church of All Worlds waterkin rite. According to anthropologist Clifford Geertz , political rituals actually construct power; that is, in his analysis of the Balinese state , he argued that rituals are not an ornament of political power, but that

4218-546: Is offered the following description of the creation of man: "And the Lord God formed man of the dust of the ground, and breathed into his nostrils the breath of life; and man became a living soul". As a result at the moment of death each of the two elements needs to be returned to its source, the body returns to earth, while the soul to the heavenly creator, by means of the funerary ritual. Calendrical and commemorative rites are ritual events marking particular times of year, or

4332-555: Is over 900 times played on stage within fifteen years. sanskritiksangam.com is a leading cultural organisation that has been promoting rich Indian culture through regional artists based in Eastern Uttar Pradesh. Since its establishment in 2005, One of its most popular classical-Musical-Dance Drama creation Sanskritik Sangam Salempur, Meghdoot Ki Puravanchal Yatra in Bhojpuri an adaptation of Kalidasa's Meghdootam has done

4446-485: Is ruined because of it and has estranged his wife caves dating back to the 3rd century BC and Khandagiri caves from the 2nd century BC are the earliest examples of theatre architecture in India. The dating of Bhasa is controversial and ranges from pre Natyashastra date of the 5th century BC to the 2nd century AD. Bhasa according to some scholars preceded Natyashastra tradition. Nandikeshvara who wrote Abhinaya Darpana lit.  ' The Mirror of Gesture ' which itself

4560-399: Is seeing believing, doing is believing." The theatricality of ritual may overlap with performance art . For simplicity's sake, the range of diverse rituals can be divided into categories with common characteristics, generally falling into one three major categories: However, rituals can fall in more than one category or genre, and may be grouped in a variety of other ways. For example,

4674-412: Is somehow generated." Symbolic anthropologists like Geertz analyzed rituals as language-like codes to be interpreted independently as cultural systems. Geertz rejected Functionalist arguments that ritual describes social order, arguing instead that ritual actively shapes that social order and imposes meaning on disordered experience. He also differed from Gluckman and Turner's emphasis on ritual action as

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4788-501: Is the case with the Bosnian syncretic holidays and festivals that transgress religious boundaries. Nineteenth century " armchair anthropologists " were concerned with the basic question of how religion originated in human history. In the twentieth century their conjectural histories were replaced with new concerns around the question of what these beliefs and practices did for societies, regardless of their origin. In this view, religion

4902-455: Is uncertain (estimates range from 200 BCE to 200 CE) and whose authorship is attributed to Bharata Muni . The Treatise is the most complete work of dramaturgy in the ancient world. It addresses acting, dance, music, dramatic construction , architecture, costuming , make-up , props , the organisation of companies, the audience, competitions, and offers a mythological account of the origin of theatre. In doing so, it provides indications about

5016-628: Is viewed in the same light. He observed, for example, how the first-fruits festival ( incwala ) of the South African Bantu kingdom of Swaziland symbolically inverted the normal social order, so that the king was publicly insulted, women asserted their domination over men, and the established authority of elders over the young was turned upside down. Claude Lévi-Strauss , the French anthropologist, regarded all social and cultural organization as symbolic systems of communication shaped by

5130-495: The Encyclopædia Britannica , Talal Asad notes that from 1771 to 1852, the brief articles on ritual define it as a "book directing the order and manner to be observed in performing divine service" (i.e., as a script). There are no articles on the subject thereafter until 1910, when a new, lengthy article appeared that redefines ritual as "...a type of routine behaviour that symbolizes or expresses something". As

5244-550: The Mahabharata and Ramayana . It also employs spoken dialogue in-between its songs that gives it a folk art flavour. Kathakali is a form of dance-drama, characteristic of Kerala , that arose in the 17th century, developing from the temple-art plays Krishnanattam and Ramanattam . Urdu Drama evolved from the prevailing dramatic traditions of North India shaping Rahas or Raas as practiced by exponents like Wajid Ali Shah , Nawab of Awadh . His dramatic experiments led to

5358-582: The antam sanskar in Sikhism. These rituals often reflect deep spiritual beliefs and provide a structured way for communities to grieve and honor the deceased. In Tibetan Buddhism, for example, the rituals described in the Bardo Thodol guide the soul through the stages of death, aiming for spiritual liberation or enlightenment. In Islam, the Janazah prayer is an essential communal act that underscores

5472-479: The British Empire , from the mid-19th century until the mid-20th. From the last half of the 19th century, theatres in India experienced a boost in numbers and practice. After Indian independence in 1947, theatres spread throughout India as one of the means of entertainment. As a diverse, multi-cultural nation, the theatre of India cannot be reduced to a single, homogenous trend . In contemporary India,

5586-727: The Dramatic Performances Act in 1876. Improvisational (also known as improv or impro) is a form of theatre in which the actors use improvisational acting techniques to perform spontaneously. Improvisers typically use audience suggestions to guide the performance as they create dialogue, setting, and plot extemporaneously. Many improvisational actors also work as scripted actors and "improv" techniques are often taught in standard acting classes. The basic skills of listening, clarity, confidence, and performing instinctively and spontaneously are considered important skills for actors to develop. Improvisational Theatre in India

5700-665: The Muslim ritual ablution or Wudu before prayer; baptism in Christianity , a custom and sacrament that represents both purification and initiation into the religious community (the Christian Church ); and Amrit Sanskar in Sikhism , a rite of passage ( sanskar ) that similarly represents purification and initiation into the religious community (the khalsa ). Rites that use water are not considered water rites if it

5814-463: The agricultural cycle . They may be fixed by the solar or lunar calendar ; those fixed by the solar calendar fall on the same day (of the Gregorian, Solar calendar) each year (such as New Year's Day on the first of January) while those calculated by the lunar calendar fall on different dates (of the Gregorian, Solar calendar) each year (such as Chinese lunar New Year ). Calendrical rites impose

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5928-420: The intricate calendar of Hindu Balinese rituals served to regulate the vast irrigation systems of Bali, ensuring the optimum distribution of water over the system while limiting disputes. While most Functionalists sought to link ritual to the maintenance of social order, South African functionalist anthropologist Max Gluckman coined the phrase "rituals of rebellion" to describe a type of ritual in which

6042-541: The slaughter of pigs in New Guinea; Carnival festivities; or penitential processions in Catholicism. Victor Turner described this "cultural performance" of basic values a "social drama". Such dramas allow the social stresses that are inherent in a particular culture to be expressed and worked out symbolically in a ritual catharsis; as the social tensions continue to persist outside the ritual, pressure mounts for

6156-673: The traditions of a community , including a religious community. Rituals are characterized, but not defined, by formalism, traditionalism, invariance, rule-governance, sacral symbolism, and performance. Rituals are a feature of all known human societies. They include not only the worship rites and sacraments of organized religions and cults , but also rites of passage , atonement and purification rites , oaths of allegiance , dedication ceremonies, coronations and presidential inaugurations , marriages, funerals and more. Even common actions like hand-shaking and saying " hello " may be termed as rituals . The field of ritual studies has seen

6270-418: The 15th century BC. Vedic text such as Rigveda provides evidence of drama plays being enacted during Yagya ceremonies. The dialogues mentioned in the texts range from one person monologues to three person dialogues such as the dialogue between Indra, Indrani and Vrishakapi. The dialogues are not only religious in their context but also secular. For instance, one rigvedic monologue is about a gambler whose life

6384-700: The 1600s to mean "the prescribed order of performing religious services" or more particularly a book of these prescriptions. There are hardly any limits to the kind of actions that may be incorporated into a ritual. The rites of past and present societies have typically involved special gestures and words, recitation of fixed texts, performance of special music , songs or dances , processions, manipulation of certain objects, use of special dresses, consumption of special food , drink , or drugs , and much more. Catherine Bell argues that rituals can be characterized by formalism, traditionalism, invariance, rule-governance, sacral symbolism and performance. Ritual uses

6498-440: The 1st century CE. The wealth of archeological evidence from earlier periods offers no indication of the existence of a tradition of theatre. The Vedas (the earliest Indian literature, from between 1500 and 600 BCE) contain no hint of it; although a small number of hymns are composed in a form of dialogue ), the rituals of the Vedic period do not appear to have developed into theatre. The Mahābhāṣya by Patañjali contains

6612-477: The 2nd century BCE and flourished between the 1st century CE and the 10th, which was a period of relative peace in the history of India during which hundreds of plays were written. Despite its name, Sanskrit theatre was not exclusively in Sanskrit language . Other Indic languages collectively called as Prakrit were also used in addition to Sanskrit. The earliest-surviving fragments of Sanskrit drama date from

6726-423: The 5th to 3rd centuries BCE) refer to the existence of troupes of actors (led by a chief actor), who performed dramas on a stage. It is indicated that these dramas incorporated dance, but were listed as a distinct form of performance, alongside dancing, singing, and story recitations. The major source of evidence for Sanskrit theatre is A Treatise on Theatre ( Nātyaśāstra ), a compendium whose date of composition

6840-723: The Achaemenids in 525 BC. In Greece, Classical Antiquity begins with the colonization of Magna Graecia and peaks with the conquest of the Achaemenids and the subsequent flourishing of Hellenistic civilization (4th to 2nd centuries). The Roman Republic supplants the Etruscans and then the Carthaginians (5th to 3rd centuries). The close of the millennium sees the rise of the Roman Empire . The early Celtic culture dominate Central Europe while Northern Europe

6954-704: The Dark Chamber ( Raja , 1910), The Post Office ( Dakghar , 1913), and Red Oleander ( Raktakarabi , 1924). Kalyanam Raghuramaiah , a recipient of the Sangeet Natak Akademi Award , and the Padmashri , was known for the roles of Krishna or Dushyantha, Bhavanisankar, Narada etc. in Telugu theatre . He performed those roles for about 60 years. He indulged in elaborate raga alapana, based on different ragas while rendering padyams. One of

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7068-556: The Delhi Theatre enthusiasts. Leading the group, Keshav Raina is developing more Hindustani shows showcasing the rich history and heritage of India. Yakshagana is a popular semi-classical theatre art from coastal Karnataka. It uses rich costumes, music, dance, and dialogue. Puppet shows in parts of Karnataka uses all these elements of yakshagana to depict stories from the Ramayana and Mahabharata . Mobile theatres are

7182-526: The Far East. With the Islamic conquests that began in the 10th and 11th centuries, theatre was discouraged or forbidden entirely. Later, in an attempt to re-assert indigenous values and ideas, village theatre was encouraged across the subcontinent, developing in a large number of regional languages from the 15th to the 19th centuries. Modern Indian theatre developed during the period of colonial rule under

7296-459: The Great's Indian conquest. The invading army staged Greek-style plays and Indians picked up the performance art. While some scholars argue that traditional Indian theatre predated it, there is a recognition that classical Greek theatre has helped transformed it. The Greek origin of Indian theatre has not received popular acceptance. Mid twelfth century – eighteenth century India's artistic identity

7410-843: The Proscenium and urged on the taking theatre to the people. Improvisational Theatre groups in India: Improvisational Theatre forms practiced in India: Notable theatre directors: Kutiyattam is the only surviving specimen of the ancient Sanskrit theatre, thought to have originated around the beginning of the Common Era , and is officially recognised by UNESCO as a Masterpiece of the Oral and Intangible Heritage of Humanity . In addition, many forms of Indian folk theatre abound. Bhavai (strolling players)

7524-531: The South Pacific. In such religio-political movements, Islanders would use ritual imitations of western practices (such as the building of landing strips) as a means of summoning cargo (manufactured goods) from the ancestors. Leaders of these groups characterized the present state (often imposed by colonial capitalist regimes) as a dismantling of the old social order, which they sought to restore. Rituals may also attain political significance after conflict, as

7638-463: The accepted social order was symbolically turned on its head. Gluckman argued that the ritual was an expression of underlying social tensions (an idea taken up by Victor Turner ), and that it functioned as an institutional pressure valve, relieving those tensions through these cyclical performances. The rites ultimately functioned to reinforce social order, insofar as they allowed those tensions to be expressed without leading to actual rebellion. Carnival

7752-494: The anthropologist Victor Turner writes: Rituals may be seasonal, ... or they may be contingent, held in response to an individual or collective crisis. ... Other classes of rituals include divinatory rituals; ceremonies performed by political authorities to ensure the health and fertility of human beings, animals, and crops in their territories; initiation into priesthoods devoted to certain deities, into religious associations, or into secret societies; and those accompanying

7866-559: The cause, and make the restoration of social relationships the cure. Turner uses the example of the Isoma ritual among the Ndembu of northwestern Zambia to illustrate. The Isoma rite of affliction is used to cure a childless woman of infertility. Infertility is the result of a "structural tension between matrilineal descent and virilocal marriage" (i.e., the tension a woman feels between her mother's family, to whom she owes allegiance, and her husband's family among whom she must live). "It

7980-673: The close of the millennium, the Han dynasty extends Chinese power towards Central Asia, where it borders on Indo-Greek and Iranian states. Japan is in the Yayoi period . The Olmec civilization declines, and the Maya and Zapotec civilizations emerge in Mesoamerica. The Chavín culture flourishes in Peru. The first millennium BC is the formative period of the classical world religions , with

8094-601: The community renewed itself through the ritual creation of communitas during the "liminal phase". Turner analyzed the ritual events in 4 stages: breach in relations, crisis, redressive actions, and acts of reintegration. Like Gluckman, he argued these rituals maintain social order while facilitating disordered inversions, thereby moving people to a new status, just as in an initiation rite. Arguments, melodies, formulas, maps and pictures are not idealities to be stared at but texts to be read; so are rituals, palaces, technologies, and social formations. Clifford Geertz also expanded on

8208-400: The contrary, the flag encourages a sort of all-or-nothing allegiance to the whole package, best summed [by] 'Our flag, love it or leave.' Particular objects become sacral symbols through a process of consecration which effectively creates the sacred by setting it apart from the profane . Boy Scouts and the armed forces in any country teach the official ways of folding, saluting and raising

8322-683: The course of the millennium, from about an estimated 50–100 million to an estimated 170–300 million. Close to 90% of world population at the end of the first millennium BC lived in the Iron Age civilizations of the Old World (Roman Empire, Parthian Empire , Graeco - Indo-Scythian and Hindu kingdoms, Han China ). The population of the Americas was below 20 million, concentrated in Mesoamerica ( Epi-Olmec culture ); that of Sub-Saharan Africa

8436-1086: The daily offering of food and libations to deities or ancestral spirits or both. A rite of passage is a ritual event that marks a person's transition from one status to another, including adoption , baptism , coming of age , graduation , inauguration , engagement , and marriage . Rites of passage may also include initiation into groups not tied to a formal stage of life such as a fraternity . Arnold van Gennep stated that rites of passage are marked by three stages: Anthropologist Victor Turner defines rites of affliction actions that seek to mitigate spirits or supernatural forces that inflict humans with bad luck, illness, gynecological troubles, physical injuries, and other such misfortunes. These rites may include forms of spirit divination (consulting oracles ) to establish causes—and rituals that heal, purify, exorcise, and protect. The misfortune experienced may include individual health, but also broader climate-related issues such as drought or plagues of insects. Healing rites performed by shamans frequently identify social disorder as

8550-457: The degree people are tied into a tightly knit community. When graphed on two intersecting axes, four quadrants are possible: strong group/strong grid, strong group/weak grid, weak group/weak grid, weak group/strong grid. Douglas argued that societies with strong group or strong grid were marked by more ritual activity than those weak in either group or grid. (see also, section below ) In his analysis of rites of passage , Victor Turner argued that

8664-497: The development of early Judaism and Zoroastrianism in the Near East , and Vedic religion and Vedanta , Jainism and Buddhism in India. Early literature develops in Greek , Latin , Hebrew , Sanskrit , Tamil and Chinese . The term Axial Age , coined by Karl Jaspers , is intended to express the crucial importance of the period of c. the 8th to 2nd centuries BC in world history . World population more than doubled over

8778-571: The drama aficionados. All the early gems of Urdu Theatre (performed by Parsi Companies) were made into films. Great works like those by Shakespeare have influenced Modern Urdu tradition to a large extent when Indian, Iranian, Turkish stories and folk was adapted for stage with heavy doses of Urdu Poetry. In modern times writers like Imtiaz Ali Taj , Rafi Peer, Krishan Chander, Manto, Upender Nath Ashk, Ghulam Rabbani, Prof. Mujeeb and many others shaped this tradition. While Prof Hasan, Ghulam Jeelani, J.N. Kaushal, Shameem Hanfi, Jameel Shaidayi etc. belong to

8892-422: The earliest reference to what may have been the seeds of Sanskrit drama. This treatise on grammar from 140 BCE provides a feasible date for the beginnings of theatre in India . However, although there are no surviving fragments of any drama prior to this date, it is possible that early Buddhist literature provides the earliest evidence for the existence of Indian theater. The Pali suttas (ranging in date from

9006-586: The effectiveness of a shamanic ritual for an individual may depend upon a wider audiences acknowledging the shaman's power, which may lead to the shaman placing greater emphasis on engaging the audience than in the healing of the patient. Many cultures have rites associated with death and mourning, such as the last rites and wake in Christianity, shemira in Judaism, the antyesti in Hinduism, and

9120-477: The elements of theatre, the Treatise gives most attention to acting ( abhinaya ), which consists of two styles: realistic ( lokadharmi ) and conventional ( natyadharmi ), though the major focus is on the latter. Its drama is regarded as the highest achievement of Sanskrit literature . It used stock characters , such as the hero ( nayaka ), heroine ( nayika ), or clown ( vidusaka ). Actors may have specialised in

9234-593: The elites, it was now no longer relevant. This was due to the invading cultures that began to dominate and did not appreciate or understand, and since they did not understand the Sanskrit language it could no longer be held in such a high regard, and as a consequence many theatre artist suffered from neglect. The commonplace to find performers was in urban centers, because it was there they were able to find work to support themselves. Large temples where home to musical and theatrical shows. A Bharata Natyshatra also known as

9348-411: The famous Inder Sabha of Agha Hasan Amanat and later this tradition took the shape of Parsi theatre . Yahudi Ki Ladki (The Jew's Daughter) by Agha Hashar Kashmiri is culmination of this tradition. Among all the languages Urdu (which was called Hindi by early writers), along with Gujrati, Marathi and Bengali theatres have kept flourishing and demand for its writers and artists has not subsided by

9462-567: The festival. A water rite is a rite or ceremonial custom that uses water as its central feature. Typically, a person is immersed or bathed as a symbol of religious indoctrination or ritual purification . Examples include the Mikveh in Judaism , a custom of purification; misogi in Shinto , a custom of spiritual and bodily purification involving bathing in a sacred waterfall, river, or lake;

9576-605: The finest method actors, He had the ability to sing padyams and songs through whistle, by putting his finger in mouth and producing the whistle or flute sound (meaning Eela in Telugu). He has acted in various dramas and gave more than 20,000 stage performances. He was called the "Nightingale of the Stage" by Rabindranath Tagore The British believed that the Indian actors were mystical creatures. They believed they brought them luck and prosperity. The emergent modern Indian theater, which

9690-415: The flag, thus emphasizing that the flag should never be treated as just a piece of cloth. The performance of ritual creates a theatrical -like frame around the activities, symbols and events that shape participant's experience and cognitive ordering of the world, simplifying the chaos of life and imposing a more or less coherent system of categories of meaning onto it. As Barbara Myerhoff put it, "not only

9804-425: The form of uncodified or codified conventions practiced by political officials that cement respect for the arrangements of an institution or role against the individual temporarily assuming it, as can be seen in the many rituals still observed within the procedure of parliamentary bodies. Ritual can be used as a form of resistance, as for example, in the various Cargo Cults that developed against colonial powers in

9918-413: The function (purpose) of the institution or custom in preserving or maintaining society as a whole. They thus disagreed about the relationship of anxiety to ritual. Malinowski argued that ritual was a non-technical means of addressing anxiety about activities where dangerous elements were beyond technical control: "magic is to be expected and generally to be found whenever man comes to an unbridgeable gap,

10032-536: The historical trend. An example is the American Thanksgiving dinner, which may not be formal, yet is ostensibly based on an event from the early Puritan settlement of America. Historians Eric Hobsbawm and Terrence Ranger have argued that many of these are invented traditions , such as the rituals of the British monarchy, which invoke "thousand year-old tradition" but whose actual form originate in

10146-464: The inherent structure of the human brain. He therefore argued that the symbol systems are not reflections of social structure as the Functionalists believed, but are imposed on social relations to organize them. Lévi-Strauss thus viewed myth and ritual as complementary symbol systems, one verbal, one non-verbal. Lévi-Strauss was not concerned to develop a theory of ritual (although he did produce

10260-547: The last two cover between them the entire epic of Ramayana . The powerful Indian emperor Harsha (606–648) is credited with having written three plays: the comedy Ratnavali , Priyadarsika , and the Buddhist drama Nagananda . According to some scholars the earliest form of the classical theatre of India was the Sanskrit theatre which came into existence after the development of Greek and Roman theatre. One theory describes this development as an offshoot of Alexander

10374-414: The late nineteenth century, to some extent reviving earlier forms, in this case medieval, that had been discontinued in the meantime. Thus, the appeal to history is important rather than accurate historical transmission. Catherine Bell states that ritual is also invariant, implying careful choreography. This is less an appeal to traditionalism than a striving for timeless repetition. The key to invariance

10488-613: The liminal phase - that period 'betwixt and between' - was marked by "two models of human interrelatedness, juxtaposed and alternating": structure and anti-structure (or communitas ). While the ritual clearly articulated the cultural ideals of a society through ritual symbolism, the unrestrained festivities of the liminal period served to break down social barriers and to join the group into an undifferentiated unity with "no status, property, insignia, secular clothing, rank, kinship position, nothing to demarcate themselves from their fellows". These periods of symbolic inversion have been studied in

10602-510: The major competition with its theatre is that represented by growing television industries and the spread of films produced in the Indian film industry based in Mumbai (formerly Bombay), known as " Bollywood ". Lack of finance is another major obstacle. The history of the origin of theatre in India is highly controversial. Early dating According to some scholars, Indian theatre emerged in

10716-611: The national theatre in Calcutta ) a Bengali play by Dinabandhu Mitra garnered both accolades and controversy for depicting the horror and tragedy of indigo cultivation in rural Bengal, and played a major role in the indigo revolt . Rabindranath Tagore was a pioneering modern playwright who wrote plays noted for their exploration and questioning of nationalism, identity, spiritualism and material greed. His plays are written in Bengali and include Chitra ( Chitrangada , 1892), The King of

10830-492: The nature of actual theatrical practices. Sanskrit theatre was performed on sacred ground by priests who had been trained in the necessary skills (dance, music, and recitation) in a [hereditary process]. Its aim was both to educate and to entertain. Characters in Sanskrit plays were important. They were broadly classified into three kinds which are Nayaka(hero), Nayika(heroine) and the Vidusaka(Clown). An appreciation for

10944-433: The offering is usually destroyed in the ritual to transfer it to the deities. Rites of feasting and fasting are those through which a community publicly expresses an adherence to basic, shared religious values, rather than to the overt presence of deities as is found in rites of affliction where feasting or fasting may also take place. It encompasses a range of performances such as communal fasting during Ramadan by Muslims;

11058-518: The old generation, contemporary writers like Mujeeb Khan, Javed Siddiqui , Sayeed Alam, Danish Iqbal, Anis Azmi, Aftab Hasnain, Aslam Parvez, Anis Javed, Iqbal Niyazi, Syed Sahil Agha and Zaheer Anwar are few post modern playwrights actively contributing in the field of Urdu Drama. Zaheer Anwar has kept the flag of Urdu Theatre flying in Kolkata. Unlike the writers of previous generation, Danish iqbal and Zaheer do not write bookish Plays but their work

11172-430: The only feasible alternative. Ritual tends to support traditional forms of social hierarchy and authority, and maintains the assumptions on which the authority is based from challenge. Rituals appeal to tradition and are generally continued to repeat historical precedent, religious rite, mores , or ceremony accurately. Traditionalism varies from formalism in that the ritual may not be formal yet still makes an appeal to

11286-432: The power of political actors depends upon their ability to create rituals and the cosmic framework within which the social hierarchy headed by the king is perceived as natural and sacred. As a "dramaturgy of power" comprehensive ritual systems may create a cosmological order that sets a ruler apart as a divine being , as in "the divine right" of European kings, or the divine Japanese Emperor. Political rituals also emerge in

11400-430: The remotest parts of India, such as Karur, Chennai, West Bengal, as well as Bangalore too. Yours Truly Theatre , a Bangalore-based group, developed "complete the story", an indigenous format of improvisational theatre developed under the leadership of Ranji David and Nandini Rao in 2006. In 2009, they also developed another form of improvisational theatre called "mushyara theatre". In the late 1960s Badal Sircar introduced

11514-413: The ritual's cyclical performance. In Carnival, for example, the practice of masking allows people to be what they are not, and acts as a general social leveller, erasing otherwise tense social hierarchies in a festival that emphasizes play outside the bounds of normal social limits. Yet outside carnival, social tensions of race, class and gender persist, hence requiring the repeated periodic release found in

11628-479: The same foodstuffs as humans) and resource base. Rappaport concluded that ritual, "...helps to maintain an undegraded environment, limits fighting to frequencies which do not endanger the existence of regional population, adjusts man-land ratios, facilitates trade, distributes local surpluses of pig throughout the regional population in the form of pork, and assures people of high quality protein when they are most in need of it". Similarly, J. Stephen Lansing traced how

11742-406: The stagecraft and classic Sanskrit drama was seen as an essential part of a sophisticated world view, by the end of the seventh century. Under the patronage of royal courts, performers belonged to professional companies that were directed by a stage manager ( sutradhara ), who may also have acted. This task was thought of as being analogous to that of a puppeteer —the literal meaning of " sutradhara "

11856-520: The symbolic approach to ritual that began with Victor Turner. Geertz argued that religious symbol systems provided both a "model of" reality (showing how to interpret the world as is) as well as a "model for" reality (clarifying its ideal state). The role of ritual, according to Geertz, is to bring these two aspects – the "model of" and the "model for" – together: "it is in ritual – that is consecrated behaviour – that this conviction that religious conceptions are veridical and that religious directives are sound

11970-609: The techniques to secure results, and "secondary (or displaced) anxiety" felt by those who have not performed the rites meant to allay primary anxiety correctly. Homans argued that purification rituals may then be conducted to dispel secondary anxiety. A.R. Radcliffe-Brown argued that ritual should be distinguished from technical action, viewing it as a structured event: "ritual acts differ from technical acts in having in all instances some expressive or symbolic element in them." Edmund Leach , in contrast, saw ritual and technical action less as separate structural types of activity and more as

12084-497: The term ritual is sometimes used in a technical sense for a repetitive behavior systematically used by a person to neutralize or prevent anxiety; it can be a symptom of obsessive–compulsive disorder but obsessive-compulsive ritualistic behaviors are generally isolated activities. The English word ritual derives from the Latin ritualis, "that which pertains to rite ( ritus )". In Roman juridical and religious usage, ritus

12198-526: The unity of the Muslim community in life and death. Indigenous cultures may have unique practices, such as the Australian Aboriginal smoking ceremony, intended to cleanse the spirit of the departed and ensure a safe journey to the afterlife . In many traditions can be found the belief that when man was first made the creator bestowed soul upon him, while the earth provided the body. In Genesis

12312-407: The word. Based on the understanding that performing arts are audience-oriented and must continuously adapt to the socio-cultural landscape of their patronage. Northern India managed to retain their cultural traditions in spite of the new Turko-Persian influences. The early thirteenth century marked this change for the Indian culture, where Sanskrit dramas and stage craft had been previously revered by

12426-423: The śāstra was written to list costumes, gestures, positions of the body, and make up. It also lists plots that were weighed unsuitable and it also the most completed document. Most of Indian theatre had no scenery. There was usually a few props like a brass lamp. When the concept of "Theatrical Art" was introduced medieval India was narrating poems. Bhakti poetry became popular. During medieval India Bhavabhuti

12540-596: Was a famous dramatist, he had three portent plays Malati-Madhava, Magviracharita and the Uttar Ramacharita. Under British colonial rule, modern Indian theatre began when a theatre was started in Belgachia . One of the earliest plays composed and staged during this period was Buro Shalikher Ghaare Roa (1860) by Michael Madhusudan Dutt , both in Bengali . Around the same time, Nil Darpan (1858–59, first commercial production in 1872, by Girish Chandra Ghosh at

12654-402: Was a universal, and while its content might vary enormously, it served certain basic functions such as the provision of prescribed solutions to basic human psychological and social problems, as well as expressing the central values of a society. Bronislaw Malinowski used the concept of function to address questions of individual psychological needs; A.R. Radcliffe-Brown , in contrast, looked for

12768-523: Was based on the abridgement of a long treatise of 400 sholakas called Bharatarnava, according to some scholars seems to have preceded Bharata. The most concrete example of Nandikeshvara's teachings have survived thanks to Bhasa . Natyashastra, dated earliest to 200 BC, although mentions various teachers and call them acharya but doesn't name them, but it still ends with a reference to a lost treatise of dramatist Kohala. Late dating According to scholars who insist on late dating, Sanskrit theatre emerged in

12882-404: Was likely below 10 million. The population of Oceania was likely less than one million people. Archaic period Classical period Hellenistic to Roman period (BC) Type Series Magnitude Conjunction (UT) Eclipse (UT) (Min & Sec) Ritual A ritual is a sequence of activities involving gestures , words, actions, or revered objects. Rituals may be prescribed by

12996-414: Was the proven way ( mos ) of doing something, or "correct performance, custom". The original concept of ritus may be related to the Sanskrit ṛtá ("visible order)" in Vedic religion , "the lawful and regular order of the normal, and therefore proper, natural and true structure of cosmic, worldly, human and ritual events". The word "ritual" is first recorded in English in 1570, and came into use in

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