Indian performing arts as synthesis of Theatre and Dance: “Natyashastra” Analysis
Informacje ogólne
Kod przedmiotu: | WFz.KPSC-8631 |
Kod Erasmus / ISCED: |
(brak danych)
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(0220) Nauki humanistyczne
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Nazwa przedmiotu: | Indian performing arts as synthesis of Theatre and Dance: “Natyashastra” Analysis |
Jednostka: | Katedra Porównawczych Studiów Cywilizacji |
Grupy: | |
Punkty ECTS i inne: |
(brak)
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Język prowadzenia: | angielski |
Skrócony opis: |
Classes: 23.05 (Thursday) 15.00 to 18.00, room 114 24.05 (Friday) 11.30 to 14.30, room 119 30.05 (Thursday) 15.00 to 18.00, room 114 31.05 (Friday) 11.30 to 14.30, room 119 06.06 (Thursday) 15.00 to 18.00, room 114 07.06 (Friday) 11.30 to 14.30, room 119 13.06 (Thursday) 15.00 to 18.00, room 114 14.06 (Friday) 11.30 to 13.00, room 119 |
Pełny opis: |
“Natyshastra”, the most authentic “Encyclopedia” for Indian performing arts directed not only to performers or play directors but also to paly writers. It treats and describes really diverse aspects of performing arts; practical techniques such as expressive histrionics (abhinaya), dance poses (karana) , hand gestures (hasta) or fingerings for drumming, or, theories on rhythm, or, pure aesthetic theory (rasa), or, rhetoric and prosody, or, costumes and make-ups, or, stage rituals and theatre hall construction etc. For our analysis the myth of “the origin of drama” is taken up. “Natyashastra” analysis shows an interesting cultural interaction between drama and dance so that extracted is the Indian cultural model consisting of drama culture named “Brahma genealogy”, dance culture named “Shiva genealogy”, and drama-dance synthesized culture named “Krishna genealogy”. Sanskrit theatre “Kudiyattam”, dance- drama “Kathakali”, martial arts “Kalaripayyatu” or “Bollywood” are good examples for verification of the authority of “Natyashastra”. |
Literatura: |
Manomohan Ghosh (Trans.), Natyashstra Ascribed to Bharata-Muni Vol-I~II (Translation), Chowkhamba Sanskrit Series Office, 2002& 2003 N.P.Unni, Natyasastra, Text with Introduction, English Translation and Indices (Vol.II) , Nag Publishers,1998 Christopher Byrski, Methodology of the Analysis on Sanskrit Drama, BharatiyaVidyaPrakashan,1997 Kunjunni Raja, Kutiyattam, An Introduction, Sangeet Natak Akademi, 1964 A.D.Pusalker, Bhasa – A Study, Munshiram Manoharlal, 1968 G.H.Tarlekar, A Studies in the Natyasastra, Motilal Banarsidass, 1991 Shveni Pandya, A Study of the Technique of Abhinaya in relation to Sanskrit Drama, Somaiya Publications, 1990 Martha Bush Ashton-Sikora and Robert P. Sikora, Krishnattam, Oxford & IBH Publishing, 1993 Phillip Zarrilli, Kathakali Dance -drama where gods and demons come to play, Routledge, 2000 D.A.Nair & K.A.Paniker (Ed.), Kathakali, The Art of the Non-worldly, Marg Publications, 1993 Phillip B. Zarrilli, When the body becomes all eyes, Oxford University Press, 1998 N.Gangadharan (Trans.), The Agni Purana, Part II, Ancient Indian Tradition & Mythology vol.28, Motilal Banarsidass |
Efekty uczenia się: |
The course intends to provide students with a fresh approach to Indian performing arts through Sage Bharata’s “Natyashastra” analysis that extracts the cultural genealogies, that is, theatre, dance and dance-drama synthesized. At the same time, students understand how traditional Indian performing arts follow the theories and ideas proposed in “Natyashastra” by watching and appreciating some Sanskrit plays, dances or dance-dramas picked up. |
Metody i kryteria oceniania: |
Term paper |
Właścicielem praw autorskich jest Uniwersytet Jagielloński w Krakowie.