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Urubhanga
''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. Synopsis ''Urubhanga'' is derived from the famous epic ''Mahabharata''. Although portrayed as a villain in the original play, the protagonist Duryodhana is presented in a different light in ''Urubhanga''. He isn't exempted from his original evil deeds, but he is shown a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mahabarata
The ''Mahābhārata'' ( ; , , ) is one of the two major Sanskrit epics of ancient India revered as Smriti texts in Hinduism, the other being the '' Rāmāyaṇa''. It narrates the events and aftermath of the Kurukshetra War, a war of succession between two groups of princely cousins, the Kauravas and the Pāṇḍavas. It also contains philosophical and devotional material, such as a discussion of the four "goals of life" or ''puruṣārtha'' (12.161). Among the principal works and stories in the ''Mahābhārata'' are the ''Bhagavad Gita'', the story of Damayanti, the story of Shakuntala, the story of Pururava and Urvashi, the story of Savitri and Satyavan, the story of Kacha and Devayani, the story of Rishyasringa and an abbreviated version of the ''Rāmāyaṇa'', often considered as works in their own right. Traditionally, the authorship of the ''Mahābhārata'' is attributed to Vyāsa. There have been many attempts to unravel its historical growth and compositional l ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mahābhārata
The ''Mahābhārata'' ( ; , , ) is one of the two major Sanskrit epics of ancient India revered as Smriti texts in Hinduism, the other being the '' Rāmāyaṇa''. It narrates the events and aftermath of the Kurukshetra War, a war of succession between two groups of princely cousins, the Kauravas and the Pāṇḍavas. It also contains philosophical and devotional material, such as a discussion of the four "goals of life" or '' puruṣārtha'' (12.161). Among the principal works and stories in the ''Mahābhārata'' are the ''Bhagavad Gita'', the story of Damayanti, the story of Shakuntala, the story of Pururava and Urvashi, the story of Savitri and Satyavan, the story of Kacha and Devayani, the story of Rishyasringa and an abbreviated version of the ''Rāmāyaṇa'', often considered as works in their own right. Traditionally, the authorship of the ''Mahābhārata'' is attributed to Vyāsa. There have been many attempts to unravel its historical growth and comp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Duryodhana
Duryodhana (, Help:IPA/Sanskrit, [d̪ʊɾjoːd̪ʱən̪ᵊ], ), also known as Suyodhana, is the primary antagonist in the Hindu epic ''Mahabharata.'' He is the eldest of the Kaurava, Kauravas, the hundred sons of King Dhritarashtra and Queen Gandhari (Mahabharata), Gandhari of Kuru dynasty. Born through a miraculous manner, his birth is accompanied by ill-omens. Duryodhana grows up in Hastinapur, Hastinapura and later becomes its crown prince. Driven by innate selfishness, jealousy, and hostility towards his cousins—the five Pandava brothers—Duryodhana frequently plots against them, aided by his principal allies: his trickster uncle Shakuni, his loyal friend Karna, his devoted brother Dushasana and his blind and indulgent father Dhritarashtra. Duryodhana's envy culminates in the infamous dice game, where he humiliates Draupadi, the queen of the Pandavas. This incident provokes Bhima, the second Pandava, to vow that he will one day smash Duryodhana's thigh. Later, with the he ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mahabharata
The ''Mahābhārata'' ( ; , , ) is one of the two major Sanskrit Indian epic poetry, epics of ancient India revered as Smriti texts in Hinduism, the other being the ''Ramayana, Rāmāyaṇa''. It narrates the events and aftermath of the Kurukshetra War, a war of succession between two groups of princely cousins, the Kauravas and the Pandava, Pāṇḍavas. It also contains Hindu philosophy, philosophical and devotional material, such as a discussion of the four "goals of life" or ''puruṣārtha'' (12.161). Among the principal works and stories in the ''Mahābhārata'' are the ''Bhagavad Gita'', the story of Damayanti, the story of Shakuntala, the story of Pururava and Urvashi, the story of Savitri and Satyavan, the story of Kacha (sage), Kacha and Devayani, the story of Rishyasringa and an Ramopakhyana, abbreviated version of the ''Rāmāyaṇa'', often considered as works in their own right. Traditionally, the authorship of the ''Mahābhārata'' is attributed to Vyasa, Vy ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sanskrit Drama
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 (1200-1500 BCE), 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 Classical India, classical period with the composition of the Natya Shastra, Nātyaśāstra (''lit. The Science of Drama''). Indian classical drama is regarded as the highest achievement of Sanskrit literature.Brandon (1981, xvii). The Buddhist playwright, poet and philosopher Asvaghosa, who composed the ''Buddhacarita'', is considered to have been one of the first Sanskrit dramatists along with Bhāsa, who likely lived in the 2nd century BCE, and is famous for writing two of the only surviving tragedies in Sanskrit drama. Despite its name, a classical Sanskrit drama u ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Madhyamvyayoga
'' Madhyamavyayoga'' () is a Sanskrit play attributed to Bhāsa, a famous Sanskrit poet. There is no consensus regarding when the play was written, and it has been dated variously from 475 BCE to the 11th century CE. The Sanskrit poet Nannaya, who lived around 400 CE, has mentioned Bhasa in his works, and this suggests Bhasa may have lived around 350 CE. However, many scholars disagree, and opine that Bhasa lived around the 7th to 8th centuries CE, placing the play's creation within the same time period. Madhyama Vyayoga focuses on the name confusion between the priest Keshav Das's middle son and the middle Pandava prince Bhima. Also, the reunion of Bhima and Ghatotkacha as father and son take place. While the characters in this tale are taken from the ''Mahabharata'', this particular incidence is solely a product of Bhasa. Madhyamavyayoga falls under a particular type of Sanskrit drama called Vyayoga. Etymology The play's title is derived from two of its main characters, and f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ratan Thiyam
Ratan Thiyam (born 20 January 1948) 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. Cody, p. 1348 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. He worked as chairperson of the prestigious National School of Drama from 2013 to 2017. He had also worked as vice-chairman of Sangeet Natak Akademi before joining NSD. He has also worked as Director of National School of Drama from 1987 to 1989. He is also the founder-director of ''Chorus Repertory Theatre'', formed on the outskirts of Imphal, Manipur in 1976. He was awarded the Sangeet Natak Akademi Award in Direction i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Maya Rao
Maya Rao (2 May 1928 – 1 September 2014) was an Indian classical dancer, choreographer and educator, in Kathak dance. She is known for her pioneering work in Kathak choreography, especially in dance ballets, and is credited for bringing Kathak, a North Indian-dance style to South India, when she opened her dance school, Natya Institute of Kathak and Choreography (NIKC) in Malleswaram, Bangalore in 1987. She was also the founder director of her dance company, "Natya and Stem Dance Kampni", an amalgam of NIKC and the STEM Dance Kampni ( founded by her daughter Madhu Nataraj) based in Bangalore. After her early training under Guru Sohanlal of Jaipur Gharana, followed by Guru Sunder Prasad also of the Jaipur Gharana, and went to train under Guru Shambhu Maharaj of Lucknow Gharana at Kathak Kendra (National Institute of Kathak Dance) in Delhi. She was awarded the Sangeet Natak Akademi Award, given by Sangeet Natak Akademi, the National Academy for Music, Dance and Drama in 1989. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Thang-Ta
Thang Ta () is a classical Meitei traditional martial art form. It is originated from the Ancient Kangleipak (present day Manipur state). It is practised using weaponry. It is considered as the sibling of Sarit Sarak, which uses no weapons. Thang Ta and Sarit Sarak are considered as the sub forms of Huiyen Lallong martial art form. Etymology In Meitei language, "Thang" means sword and "Ta" means spear. Mythology The story of Thang-Ta comes from the religious Meitei mythology, myths of the Meitei community. According to their myths, the limbs and bones of their ancestor, Tin Sidaba (also called Pakhangba), turned into different swords and tools, some used in Thang-Ta and others in rituals. For example, his ribs became the broad sword (thangjao) and one of his fingers became a kitchen knife (heijrang). Today, each of the seven Meitei clans has a special sword that is placed during ceremonies to honor their ancestors. The creation story, Leishemlon, says Pakhangba is the creat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mattavilasa
''Mattavilasa Prahasana'' (Devanagari:मत्तविलासप्रहसन), () is a short one-act Sanskrit play. It is one of the two great one act plays written by Pallava King Mahendravarman I (571– 630CE) in the beginning of the seventh century in southern India.Bhat and Lockwood, pg. 51 ''Mattavilasa Prahasana'' is a satire that pokes fun at the peculiar aspects of the heretic Kapalika and Pasupata Saivite sects, Buddhists and Jainism. The setting of the play is Kanchipuram, the capital city of the Pallava kingdom in the seventh century. The play revolves around the drunken antics of a Kapalika mendicant, Satyasoma, his woman, Devasoma, and the loss and recovery of their skull-bowl. The cast of characters consists of ''Kapali'' or Satysoma, an unorthodox Saivite mendicant, ''Devasoma'', Satysoma’s female partner, a ''Buddhist Monk'', whose name is Nagasena, ''Pasupata'', a member of another unorthodox Saivite order and a ''Madman''. The act describes a disp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Theyyam
Theyyam is a Hindu religious ritual practised in the North Malabar Region of Kerala and some parts of Karnataka. Theyyam is a ritual performance involving extended chanting of mantras and ceremonial preparations that typically span 8 to 10 hours. The ritual culminates with the placement of the ''mudi'' (sacred headgear) on the performer, a moment believed to mark the entry of the deity into the performer’s body. As part of the process, the performer consumes ''madhyam'' (toddy), which is believed to suppress personal consciousness, allowing the divine consciousness of the devatha to manifest. This practice aligns with philosophical concepts found in Hindu texts such as the Yoga Vasistha, which describe how divine entities (devatas) can enter the human body, parakāya praveśanam at a Paramanu level. There is no concept of God in Hindusim, rather the concept of Devatha and Brahmam. Hinduism traditionally recognizes a multiplicity of devatas, often cited as 33 crore includin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
