Theatre and Its Other : Abhinavagupta on Dance and Dramatic Acting / Elisa Ganser.

Format:

Book

Author/Creator:

Ganser, Elisa, author.

Series:

Gonda indological studies ; Volume 23.

Gonda Indological Studies ; Volume 23

Language:

English

Subjects (All):

Aesthetics, Indic.

Sanskrit drama--History and criticism.

Sanskrit drama.

Theater--India.

Theater.

Bharata Muni. Nāṭyaśāstra.

Bharata Muni.

Abhinavagupta, Rājānaka. Abhinavabhāratī.

Abhinavagupta.

Physical Description:

1 electronic resource (428 p.)

Edition:

First edition.

Place of Publication:

Brill 2022

Leiden, The Netherlands : Koninklijke Brill nv, 2022.

Language Note:

English

Summary:

In Theatre and Its Other, Elisa Ganser revisits a telling debate on the intertwined natures of dance and dramatic acting; preserved in Abhinavagupta’s eleventh-century commentary on the Nāṭyaśāstra, it reflects complex historical shifts in aesthetic theory and performance practice. ; Readership: All those interested in the history of Indian dance and theatre and in Abhinavagupta’s aesthetics, including scholars and students of Indology, performance, dance, and theatre studies, as well as performers.

Contents:

Intro

‎Contents

‎Preface

‎Introduction

‎Chapter 1. Nāṭyaśāstra and Abhinavabhāratī: Trends and Open Questions

‎1.1. Editorial History and Textual Reception

‎1.2. Archiving Performance: Texts and Images

‎1.3. The Nāṭyaśāstra and the Place of Dance

‎1.3.1. Composition, Authorship, and Date

‎1.3.2. Narrative Structure

‎1.3.3. The Tāṇḍavādhyāya

‎1.4. The Abhinavabhāratī: A Medieval Document on Performance

‎1.4.1. The Many Voices Recorded in the Chapter on Dance

‎Part 1. Practice and Aesthetics of Indian Dance

‎Chapter 2. Formalizing Dance, Codifying Performance

‎2.1. Nāṭya, nṛtta, and nṛtya between Movement and Mimesis

‎2.2. Dance as Technique: aṅgahāra, karaṇa, recaka

‎2.3. Between Gender and Genre: tāṇḍava, sukumāra, lāsya

‎2.3.1. Grace and Vehemence in the Nāṭyaśāstra

‎2.3.2. Grace and Vehemence in the Abhinavabhāratī

‎2.4. Expanding the Idea of nṛtta

‎2.5. Tradition, Creativity, and Artistry: A Śaiva Perspective

‎Chapter 3. The Aesthetics of Dance

‎3.1. Dance within Theatre, Dance without Theatre

‎3.2. Enacting Emotions: A vademecum for the Actor

‎3.3. Communication without Words

‎3.3.1. Dramatic Mimesis vs Imitation

‎3.4. Dance, Beauty, and the Fabrication of Dramatic Fiction

‎3.4.1. On the Psychagogic Power of Dance

‎3.4.2. Like a Fire-Wheel: Dance and Fiction

‎3.5. Reshaping the Idea of abhinaya in Dance

‎Part 2. Critical Edition and Annotated Translation of Abhinavabhāratī ad Nāṭyaśāstra 4.261cd-269ab

‎Chapter 4. Introduction to the Edition

‎4.1. General Remarks on the Transmission of the Abhinavabhāratī

‎4.2. Genealogy of the Present Text: The Sources

‎4.2.1. Editions

‎4.2.1.1. The Baroda or Gaekwad Edition (= E1)

‎4.2.1.2. The Madhusudan Shastri Edition (= E2)

‎4.2.1.3. The Nagar Edition (= E3).

‎4.2.1.4. The Dvivedi Edition (= E4)

‎4.2.2. Manuscripts

‎4.2.2.1. Manuscripts Containing the Fourth Chapter

‎4.2.2.2. Relationship between the Manuscripts

‎4.3. A Note on the Sanskrit Text and Translation

‎4.4. Symbols and Abbreviations in the Apparatus

‎Analysis of ABh ad NŚ 4.261cd-269ab

‎Edition and Translation: Abhinavabhāratī ad Nāṭyaśāstra 4.261cd-269ab

‎Appendix: Hemacandra's Kāvyānuśāsana

‎Bibliography

‎Index.

Notes:

Description based on publisher supplied metadata and other sources.

Description based on print version record.

Includes bibliographical references.