Contents: Introduction. 1. The origin of drama. 2. Characteristics of the playhouse. 3. Adoration of the God of the stage. 4. Characteristics of the Tandava dance.5. Procedure for the preliminary items. 6. The distinction between sentiment and emotional fervour. 7. Exposition on bhavas ( emotional tracts and stages). 8. Procedure of the ancillary limbs. 9. Hastabhinaya (gestures of the hands). 10. Sarirabhinaya (gestures of the limbs). 11. Carividhana (explanation of the cari movements). 12. Mandalavikalpanam (diverse mandala movements). 13. Gatipracara (the different types of gaits). 14. Kaksya Paridhi and Lokadharmi Nirupana ( review of zonal division and realistic practice). 15. Chandovidhana (rules of prosody). 16. Chandoviciti (an inquiry into the varieties of matres. 17.Kavyalaksana (characteristics of poetical work). 18. Bhasavidhana (rules regarding the use of languages). 19. Vakyavidhana and Kakusvara Vyanjana. 20. Dasarupavidhana (rules regarding the ten types of dramas. 21. Sandhyanga Vikalpa classification of the constituents Sandhis (junctures). 22. Vrttivikalpa [divisions of Vrttis (styles)]. 23. Aharyabhinaya costumes make up. 24. Samanyabhinaya (basic representation). 25. Varsikopacara (services of the gallant). 26. Citrabhinaya (special representation). 27. Natya-Siddhi Niruprna (review of fulfilment and success in dramatic production). 28. Atodya Vikalpanam (classification of instrumental music). 29. On stringed instruments. 30. On Susiratodya [ Hollow musical instruments (flute etc.)]. 31. On Talas (time-measure and

Contents: Preface. 1. Rgveda and its importance. 2. Gods in Rgveda. 3. Philosophy of Rgveda. 4. Agni in Rgveda and its mutual relation with the Pauranika Devatas. 5. Secularism in the hymns of Rgveda. 6. Aum in Upanisads. 7. A note on the concept of Atman in the light of Sadasiva Brahmendra's Atma Vidya Vilasa. 8. A note on Bhoja's Tattva Prakasha. 9. Abhinava Gupta's concept of Santa Rasa in the light of his commentary on Bhagavadgita. 10. Place of.... : Among radio dramas. 11. Bhati me Bharatam, Ramakanth Shukla. 12. Influence of Vedic traditions on modern Sanskrit literature with special reference to Champu works. 13. Kasmai Devaya Havisha Vidhema, Rajendra Mishra. 14. Tandula Prasthiyam, Radhavallabh Tripathi. 15. Upakhyana Malika, Radhavallabh Tripathi. 16. Modern literature with special reference to Abhiraja Dr. Rajendra Mishra. 17. Vacaspati Mishra's interpretation of Hetvabhasas. 18. Contribution of Karnataka to Sanskrit drama since independence. "The book contains 18 articles out of which 5 articles concern with different aspects of Rgveda, 8 articles concern with modern Sanskrit literature and the rest of the articles concern with different aspects of philosophy. Thus the book is a blend of Veda, Vedanta and modern Sanskrit literature." (jacke

Contents Preface. I 1. Introduction a critical overview/Avanthi Meduri. 2. A dream run the story of the Rukmini Devi travelling exhibition/S. Sathyamoorthy. II 3. Rukmini Devi as a teacher guide and mother/Kapila Vatsyayan. 4. Rukmini Devi as a theosophist/Radha Burnier. 5. Rukmini Devi and animal welfare/Chinny Krishna and Maneka Gandhi. 6. Rukmini Devi the divine dancer/R. Nagaswamy. 7. Rukmini Devi and the vegetarian village/N. Mahalingam. 8. Rukmini Devi the educator/Sarada Hoffman. 9. Rukmini Devi a builder of institutions/C.V. Chandrasekhar. 10. Rukmini Devi an aesthetic visionary/Mrinalini Sarabhai. 11. Athai my guru/Krishnaveni Lakshmanan. 12. Remembering Amma a beacon light/V.P. Dhananjayan. 13. The other side of Athai reminiscences/Shanta Dhananjayan. 14. Remembering a legend/V.R. Devika. III 15. Made history and made by history Rukmini Devi's integrated approach to Bharatanatyam/Leela Venkataraman. 16. Rukmini Devi's approach to tradition and beyond/Lakshmi Viswanathan. 17. Reviving and reforming tradition in contemporary contexts/Gowri Ramnarayan. 18. Rukmini Devi Arundale her new visions in her dance in dramas/C.V. Chandrasekhar. 19. Kuravanji dance drama/Sunil Kothari. 20. The birth of Bharatanatyam and the Sanskritized body/Uttara Asha Coorlawala. 21. Rukmini Devi and Sanskritization a new performance perspective/Avanthi Meduri. 22. Rukmini Devi rethinking the classical/Janet O'Shea. 23. Re invoking Rukmini Devi questions from a dance maker in Britain/Vena Ramphal. The essays in this book endeavour to capture the multifaceted cultural and aesthetic legacy of Rukmini Devi preserved both in India and abroad. They are authored by a wide range of Indian and international scholars including dance critics dance administrators dancers dance teachers bureaucrats and alumni of the world renowned Kalakshetra arts institution that Rukmini Devi founded in 1936. The authors delineate specific aspects of her public life as a Bharatanatyam dancer Theosophist arts educator institution builder teacher producer of dance dramas and chairman of the Animal Welfare Board. The essays also discuss Rukmini Devi's aesthetic vision in relation to history to tradition to classicism her engagement with canonical Sanskrit texts her creation of ensemble dance drama productions and contemporary dance in the United Kingdom.

Fall of Mevar or Mevar Patan is probably the greatest of all Dwijendra Lal Roy's dramas. The theme is historical and takes us back to the beginning of the 17 century, to the reign of Jehangir, son of the renowned Emperor Akbar. The action centres round the small independent Hindu state of Mevar in the province of Rajputana. This province was divided up into a number of lesser states, ruled over by as many independent, chivalrous and war-like chiefs who were constantly warring among themselves. At the beginning of the sixteenth century, Babar the first Moghul invader, found them too weak and divided to oppose him. One by one, the independent states of Rajputana fell, until, at the time of Akbar's death, every ruler except the Rana of Mevar was compelled to acknowledge the sovereignty of the Moghul Emperor at Delhi, and pay tribute to his court. "But Mevar was to fall at last. Already the capital, Chittore, had been lost during the reign of Akbar. But the rulers of Mevar still refused to bow down to the Moghuls; on the beautiful hills of the Aravalli, they founded a new capital, at Udaipur. "It is the epic of the downfall of Mevar, conceived in all its solemnity and grandeur, which forms the subject of this drama. "Last but one of the rulers of Mevar was the great Rana Pratap, whose name is referred to constantly in successive scenes. This almost legendary figure has bequeathed to his countrymen a heroic tradition of bravery, of untold hardships suffered in the name of patriotism and liberty. His proverbial courage is a living memory in the minds of his countrymen; it

Contents 1. Three little slices of Indian urban life/Mahesh Dattani. 2. Introduction to the first edition of Party/Samik Bandyopadhyay. 3. Director's note/Amol Palekar. 4. Party/Mahesh Elkunchwar. 5. A note on translating Avinash/Shanta Gokhale. 6. Preface to the first edition of Avinash/Shanta Gokhale. 7. Avinash/Shanta Gokhale. 8. Lights out/Manjula Padmanabhan. Three plays in the naturalistic mode set within the four walls of a city apartment throwing people into close contact relationships unravelling under pressure the moment of crisis in each case precipitated by an absent presence who is never seen on stage. Intense human dramas each one reflecting the claustrophobic lives of their urban characters. In Mahesh Elkunchwar's Party translated by Ashish Rajad Hyaksha members of the creative set are depicted with their pretensions rivalries and frustrations in the social milieu of a party. Even as they laugh and drink they are stalked like a guilty conscience by the absence of Amrit the only one of them who chose to commit to a political cause and join the marginalized tribals to fight for their rights. Avinash written and translated by leading theatre scholar and critic Shanta Gokhale is an intense family drama in which the tensions between various members of a middle class family escalate to a tragic climax. Avinash a depressive alcoholic invisible throughout is yet the central presence in the drama. His mysterious death triggers off harsh inter personal conflicts in the rest of the family. In Lights Out by Manjula Padmanabhan whose plays in English have received much attention the daily mystery of heart rending screams from a women who is never seen but is in obvious pain destroys the fabric of domesticity of a middle class couple divided in their response to her anguish.

265 pp

5/9/2003 5/9/2003

Octavo. 17 pages. A disbound article.