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{{History of literature5}}
'''Bhana''' or ''bhāṇa'' ([[Sanskrit]]: भाण ) (one act monologue Sanskrit plays)
In the [[Vedic]] literature, there are several references to singing, dancing, music and entertaining performances by professional entertainers. In the [[Rig Veda]] there are '' [[mantra]]s'' with pronounced story element in dialogue form – dramatic soliloquy, dialogue and chorus, traditionally known as ''Akhyana'' which fact points at the existence of some kind of drama-entertainment e.g. "The Repentant Gambler" [[Rig Veda]] X.3.5, "The Frog Play" ([[Rig Veda]] VII.6), "Yama and Yami" [[Rig Veda]]X.1, "Chorus" [[Rig Veda]] IX.11. Some scholars think that such dramatic hymns were enacted by the priests at the time of [[Yajna]] ceremonies; it is possible that the drama proper emanated from the rituals then performed. ''Bhāna Padataditakam'' set in the city of Ujjayani describes ''Bhāṇa'' plays as ''Eka Nata Nātak'' or single actor play.<ref>{{cite book|title=History of Indian Theatre|author=Manohar Laxman Varadpande|publisher=Abhinava Publications|pages=11-17,178|url=https://books.google.com/books?id=fOZB7MbeMrAC&pg=PA173&dq=Bhana&hl=en&sa=X&ei=5D3kU4XsJcns8AWP3oCACw&ved=0CC4Q6AEwAw#v=onepage&q=Bhana&f=false }}</ref>

As per the rules laid down by Bharata in the 4th or the 5th century A.D., Bhāṇa, described by him in Chapter 19 of [[Natyasastra|Nātyaśastra]], is a monologue spoken by a dissolute hero called ''viṭa'', dialogue is simulated by having the ''viṭa'' respond to imagined voices or asking questions of unseen characters and repeating their answers to the audience; Bharata insists that plays of this type should contain the elements of a kind of dance called the ''lāsya'' but did not favour the graceful style called ''kaiśikī vṛtti'', which allows for love and gallantry. Many centuries later, Dhananjaya specified that a ''bhāṇa'' should be rendered in the ''bhāratī vṛtti'' and that the heroic (''vīra'') and erotic (''śṛṅgāra'') sentiments should prevail but like Bharata did not make specific mention of the comic element; ''bhāratī vṛtti'' suggests the comic element and allows ''kaiśikī vṛtti''.<ref>{{cite book|title=Social Science in Sanskrit Literature|author=Daniel James Bisgaard|publisher=Motilal Banarsidass|pages=87|url= https://books.google.com/books?id=VxnY-9Mb0qIC&pg=PA87&dq=Bhana&hl=en&sa=X&ei=5D3kU4XsJcns8AWP3oCACw&ved=0CE8Q6AEwCQ#v=onepage&q=Bhana&f=false }}</ref>

[[Abhinavagupta]] states that ''bhānas'' are chronicles of prostitutes and men who live by their wit. Kohala is of the view that the ''bhānas'' should have only ''śṛṅgārarasa''. Saradātanaya states:

: कोहलादिभिराचर्यैरुक्तं भाणस्य लक्षणम् |
: लास्यङ्ग्दशकोपेतं ..... ||

: "The characteristics of ''bhāna'' are described by experts such as Kohala and others as being arrived at by ten ''lāsyāṅgas'' (the traditional forms of dance)……… "
Śārṅgadeva defines ''lāsya'' as a delicate dance that stimulates erotic sentiments. From ''bhāṇas'' there developed two minor dramatic types – ''bhāṇaka'' and ''bhāṇikā'' or ''bhāna'' and ''bhāni''.<ref>{{cite book|title=Movement and Mimesis: The Idea of Dance in Sanskrit Tradition|author=Mandakranta Bose|publisher=Springer|pages=144,151,49|url= https://books.google.com/books?id=3M-8oyu0kvgC&pg=PA150&dq=Bhana&hl=en&sa=X&ei=7U3kU62TMIbk8AWH4IKgCA&ved=0CB8Q6AEwATgK#v=onepage&q=Bhana&f=false }}</ref>

Early ''Nāṭyaśāstra'' tradition describes eleven genres of [[Sanskrit drama]]s, and ''Bhāṇa'' is one of them; these genres had evolved around different cultural and social settings representing diverse patronage. ''Bhāṇa'' is a single act play with two conjectures or sandhis – the opening and the conclusion; it is a drama where a single actor creates a number of characters and episodes by his mono-acting. In this genre, the plot is invented and usually deals with a gallant parasite (''viṭa'') who goes on an errand to appease a courtesan ladylove his noble friend. All en route happenings are narrated with ingenious techniques of ''ekāhārya abhinaya'' (the adoption of characters without the change of costumes or get-up) resorting to the stage convention of ''ākāśa bhāṣita'' (speech in the air) to hold forth conversations with imaginary characters who are not seen on the stage.<ref>{{cite book|title=Sanskrit Play Production in Ancient India|author=Tarla Mehta|publisher=Motilal Banarsidass|page=118|url= https://books.google.com/books?id=l7naMj1UxIkC&pg=PA374&dq=Bhana&hl=en&sa=X&ei=7U3kU62TMIbk8AWH4IKgCA&ved=0CCsQ6AEwAzgK#v=onepage&q=Bhana&f=false }}</ref>

In the [[Brihadaranyaka Upanishad]] verse I.ii.4,

: तं जातमभिव्याददात्स भाणमकरोत्chaiva वागभवत् ||

the term ''Bhāṇam'' (भाणम) refers to the sound ''bhān'' uttered by [[Brahman]] consisting of light and knowledge, and joy; and simultaneously speech arose. The arising of speech means the creation of the worlds, i.e. act of creation. The Lord himself is called ''bhāna'', because His form is ''Bhā'' – light and knowledge and ''na'' – bliss or joy.<ref>{{cite book|title=The Brihadaranyaka Upanishad|publisher=Genesis Publishing|page=19|url= https://books.google.com/books?id=0sIq2gHSxgkC&pg=PA22&dq=Bhana&hl=en&sa=X&ei=7U3kU62TMIbk8AWH4IKgCA&ved=0CEwQ6AEwCTgK#v=onepage&q=Bhana&f=false }}</ref>

==References==
{{Reflist}}
{{Sanskrit language topics}}
[[Category:Sanskrit plays]]
[[Category:Sanskrit literature|Drama]]
[[Category:Indian plays]]
[[Category:Theatre in India]]
[[Category:Vedas]]
[[Category:Vedanta]]
[[Category:Sanskrit words and phrases]]

← Older revision		Revision as of 20:05, 3 January 2022
Line 1:		Line 1:
	{{History of literature5}}		{{History of literature5}}
	'''Bhana''' or ''bhāṇa'' ([[Sanskrit]]: भाण ) (one act monologue Sanskrit plays)		'''Bhana''' or ''bhāṇa'' ([[Sanskrit]]: भाण ) (one act monologue Sanskrit plays)
	In the [[Vedic]] literature, there are several references to singing, dancing, music and entertaining performances by professional entertainers. In the [[Rig Veda]] there are '' [[mantra]]s'' with pronounced story element in dialogue form – dramatic soliloquy, dialogue and chorus, traditionally known as ''Akhyana'' which fact points at the existence of some kind of drama-entertainment e.g. "The Repentant Gambler" [[Rig Veda]] X.3.5, "The Frog Play" ([[Rig Veda]] VII.6), "Yama and Yami" [[Rig Veda]]X.1, "Chorus" [[Rig Veda]] IX.11. Some scholars think that such dramatic hymns were enacted by the priests at the time of [[Yajna]] ceremonies; it is possible that the drama proper emanated from the rituals then performed. ''Bhāna Padataditakam'' set in the city of Ujjayani describes ''Bhāṇa'' plays as ''Eka Nata Nātak'' or single actor play.<ref>{{cite book\|title=History of Indian Theatre\|author=Manohar Laxman Varadpande~~\|year=1987~~\|publisher=Abhinava Publications\|pages=11–17,178~~\|isbn=9788170174301~~\|url=https://books.google.com/books?id=fOZB7MbeMrAC&dq=Bhana&pg=~~PA173~~ }}</ref>		In the [[Vedic]] literature, there are several references to singing, dancing, music and entertaining performances by professional entertainers. In the [[Rig Veda]] there are '' [[mantra]]s'' with pronounced story element in dialogue form – dramatic soliloquy, dialogue and chorus, traditionally known as ''Akhyana'' which fact points at the existence of some kind of drama-entertainment e.g. "The Repentant Gambler" [[Rig Veda]] X.3.5, "The Frog Play" ([[Rig Veda]] VII.6), "Yama and Yami" [[Rig Veda]]X.1, "Chorus" [[Rig Veda]] IX.11. Some scholars think that such dramatic hymns were enacted by the priests at the time of [[Yajna]] ceremonies; it is possible that the drama proper emanated from the rituals then performed. ''Bhāna Padataditakam'' set in the city of Ujjayani describes ''Bhāṇa'' plays as ''Eka Nata Nātak'' or single actor play.<ref>{{cite book\|title=History of Indian Theatre\|author=Manohar Laxman Varadpande\|publisher=Abhinava Publications\|pages=11–17,178\|url=https://books.google.com/books?id=fOZB7MbeMrAC&pg=PA173&dq=Bhana&hl=en&sa=X&ei=5D3kU4XsJcns8AWP3oCACw&ved=0CC4Q6AEwAw#v=onepage&q=Bhana&f=false }}</ref>

	As per the rules laid down by Bharata in the 4th or the 5th century A.D., Bhāṇa, described by him in Chapter 19 of [[Natyasastra\|Nātyaśastra]], is a monologue spoken by a dissolute hero called ''viṭa'', dialogue is simulated by having the ''viṭa'' respond to imagined voices or asking questions of unseen characters and repeating their answers to the audience; Bharata insists that plays of this type should contain the elements of a kind of dance called the ''lāsya'' but did not favour the graceful style called ''kaiśikī vṛtti'', which allows for love and gallantry. Many centuries later, Dhananjaya specified that a ''bhāṇa'' should be rendered in the ''bhāratī vṛtti'' and that the heroic (''vīra'') and erotic (''śṛṅgāra'') sentiments should prevail but like Bharata did not make specific mention of the comic element; ''bhāratī vṛtti'' suggests the comic element and allows ''kaiśikī vṛtti''.<ref>{{cite book\|title=Social Science in Sanskrit Literature\|author=Daniel James Bisgaard~~\|year=1994~~\|publisher=Motilal Banarsidass\|pages=87~~\|isbn=9788120811164~~\|url= https://books.google.com/books?id=VxnY-9Mb0qIC&dq=Bhana&pg=~~PA87~~ }}</ref>		As per the rules laid down by Bharata in the 4th or the 5th century A.D., Bhāṇa, described by him in Chapter 19 of [[Natyasastra\|Nātyaśastra]], is a monologue spoken by a dissolute hero called ''viṭa'', dialogue is simulated by having the ''viṭa'' respond to imagined voices or asking questions of unseen characters and repeating their answers to the audience; Bharata insists that plays of this type should contain the elements of a kind of dance called the ''lāsya'' but did not favour the graceful style called ''kaiśikī vṛtti'', which allows for love and gallantry. Many centuries later, Dhananjaya specified that a ''bhāṇa'' should be rendered in the ''bhāratī vṛtti'' and that the heroic (''vīra'') and erotic (''śṛṅgāra'') sentiments should prevail but like Bharata did not make specific mention of the comic element; ''bhāratī vṛtti'' suggests the comic element and allows ''kaiśikī vṛtti''.<ref>{{cite book\|title=Social Science in Sanskrit Literature\|author=Daniel James Bisgaard\|publisher=Motilal Banarsidass\|pages=87\|url= https://books.google.com/books?id=VxnY-9Mb0qIC&pg=PA87&dq=Bhana&hl=en&sa=X&ei=5D3kU4XsJcns8AWP3oCACw&ved=0CE8Q6AEwCQ#v=onepage&q=Bhana&f=false }}</ref>

	[[Abhinavagupta]] states that ''bhānas'' are chronicles of prostitutes and men who live by their wit. Kohala is of the view that the ''bhānas'' should have only ''śṛṅgārarasa''. Saradātanaya states:		[[Abhinavagupta]] states that ''bhānas'' are chronicles of prostitutes and men who live by their wit. Kohala is of the view that the ''bhānas'' should have only ''śṛṅgārarasa''. Saradātanaya states:
Line 11:		Line 11:

	: "The characteristics of ''bhāna'' are described by experts such as Kohala and others as being arrived at by ten ''lāsyāṅgas'' (the traditional forms of dance)……… "		: "The characteristics of ''bhāna'' are described by experts such as Kohala and others as being arrived at by ten ''lāsyāṅgas'' (the traditional forms of dance)……… "
	Śārṅgadeva defines ''lāsya'' as a delicate dance that stimulates erotic sentiments. From ''bhāṇas'' there developed two minor dramatic types – ''bhāṇaka'' and ''bhāṇikā'' or ''bhāna'' and ''bhāni''.<ref>{{cite book\|title=Movement and Mimesis: The Idea of Dance in Sanskrit Tradition\|author=Mandakranta Bose~~\|year=1991~~\|publisher=Springer\|pages=144,151,49~~\|isbn=9780792313250~~\|url= https://books.google.com/books?id=3M-8oyu0kvgC&dq=Bhana&pg=~~PA150~~ }}</ref>		Śārṅgadeva defines ''lāsya'' as a delicate dance that stimulates erotic sentiments. From ''bhāṇas'' there developed two minor dramatic types – ''bhāṇaka'' and ''bhāṇikā'' or ''bhāna'' and ''bhāni''.<ref>{{cite book\|title=Movement and Mimesis: The Idea of Dance in Sanskrit Tradition\|author=Mandakranta Bose\|publisher=Springer\|pages=144, 151, 49\|url= https://books.google.com/books?id=3M-8oyu0kvgC&pg=PA150&dq=Bhana&hl=en&sa=X&ei=7U3kU62TMIbk8AWH4IKgCA&ved=0CB8Q6AEwATgK#v=onepage&q=Bhana&f=false }}</ref>

	Early ''Nāṭyaśāstra'' tradition describes eleven genres of [[Sanskrit drama]]s, and ''Bhāṇa'' is one of them; these genres had evolved around different cultural and social settings representing diverse patronage. ''Bhāṇa'' is a single act play with two conjectures or sandhis – the opening and the conclusion; it is a drama where a single actor creates a number of characters and episodes by his mono-acting. In this genre, the plot is invented and usually deals with a gallant parasite (''viṭa'') who goes on an errand to appease a courtesan ladylove his noble friend. All en route happenings are narrated with ingenious techniques of ''ekāhārya abhinaya'' (the adoption of characters without the change of costumes or get-up) resorting to the stage convention of ''ākāśa bhāṣita'' (speech in the air) to hold forth conversations with imaginary characters who are not seen on the stage.<ref>{{cite book\|title=Sanskrit Play Production in Ancient India\|author=Tarla Mehta~~\|year=1995~~\|publisher=Motilal Banarsidass\|page=118~~\|isbn=9788120810570~~\|url= https://books.google.com/books?id=l7naMj1UxIkC&dq=Bhana&pg=~~PA374~~ }}</ref>		Early ''Nāṭyaśāstra'' tradition describes eleven genres of [[Sanskrit drama]]s, and ''Bhāṇa'' is one of them; these genres had evolved around different cultural and social settings representing diverse patronage. ''Bhāṇa'' is a single act play with two conjectures or sandhis – the opening and the conclusion; it is a drama where a single actor creates a number of characters and episodes by his mono-acting. In this genre, the plot is invented and usually deals with a gallant parasite (''viṭa'') who goes on an errand to appease a courtesan ladylove his noble friend. All en route happenings are narrated with ingenious techniques of ''ekāhārya abhinaya'' (the adoption of characters without the change of costumes or get-up) resorting to the stage convention of ''ākāśa bhāṣita'' (speech in the air) to hold forth conversations with imaginary characters who are not seen on the stage.<ref>{{cite book\|title=Sanskrit Play Production in Ancient India\|author=Tarla Mehta\|publisher=Motilal Banarsidass\|page=118\|url= https://books.google.com/books?id=l7naMj1UxIkC&pg=PA374&dq=Bhana&hl=en&sa=X&ei=7U3kU62TMIbk8AWH4IKgCA&ved=0CCsQ6AEwAzgK#v=onepage&q=Bhana&f=false }}</ref>

	In the [[Brihadaranyaka Upanishad]] verse I.ii.4,		In the [[Brihadaranyaka Upanishad]] verse I.ii.4,
Line 19:		Line 19:
	: तं जातमभिव्याददात्स भाणमकरोत्chaiva वागभवत् \|\|		: तं जातमभिव्याददात्स भाणमकरोत्chaiva वागभवत् \|\|

	the term ''Bhāṇam'' (भाणम) refers to the sound ''bhān'' uttered by [[Brahman]] consisting of light and knowledge, and joy; and simultaneously speech arose. The arising of speech means the creation of the worlds, i.e. act of creation. The Lord himself is called ''bhāna'', because His form is ''Bhā'' – light and knowledge and ''na'' – bliss or joy.<ref>{{cite book\|title=The Brihadaranyaka Upanishad~~\|year=2007~~\|publisher=Genesis Publishing\|page=19~~\|isbn=9788130705293~~\|url= https://books.google.com/books?id=0sIq2gHSxgkC&dq=Bhana&pg=~~PA22~~ }}</ref>		the term ''Bhāṇam'' (भाणम) refers to the sound ''bhān'' uttered by [[Brahman]] consisting of light and knowledge, and joy; and simultaneously speech arose. The arising of speech means the creation of the worlds, i.e. act of creation. The Lord himself is called ''bhāna'', because His form is ''Bhā'' – light and knowledge and ''na'' – bliss or joy.<ref>{{cite book\|title=The Brihadaranyaka Upanishad\|publisher=Genesis Publishing\|page=19\|url= https://books.google.com/books?id=0sIq2gHSxgkC&pg=PA22&dq=Bhana&hl=en&sa=X&ei=7U3kU62TMIbk8AWH4IKgCA&ved=0CEwQ6AEwCTgK#v=onepage&q=Bhana&f=false }}</ref>

	==References==		==References==

← Older revision		Revision as of 16:06, 14 December 2021
Line 1:		Line 1:
	{{History of literature5}}		{{History of literature5}}
	'''Bhana''' or ''bhāṇa'' ([[Sanskrit]]: भाण ) (one act monologue Sanskrit plays)		'''Bhana''' or ''bhāṇa'' ([[Sanskrit]]: भाण ) (one act monologue Sanskrit plays)
	In the [[Vedic]] literature, there are several references to singing, dancing, music and entertaining performances by professional entertainers. In the [[Rig Veda]] there are '' [[mantra]]s'' with pronounced story element in dialogue form – dramatic soliloquy, dialogue and chorus, traditionally known as ''Akhyana'' which fact points at the existence of some kind of drama-entertainment e.g. "The Repentant Gambler" [[Rig Veda]] X.3.5, "The Frog Play" ([[Rig Veda]] VII.6), "Yama and Yami" [[Rig Veda]]X.1, "Chorus" [[Rig Veda]] IX.11. Some scholars think that such dramatic hymns were enacted by the priests at the time of [[Yajna]] ceremonies; it is possible that the drama proper emanated from the rituals then performed. ''Bhāna Padataditakam'' set in the city of Ujjayani describes ''Bhāṇa'' plays as ''Eka Nata Nātak'' or single actor play.<ref>{{cite book\|title=History of Indian Theatre\|author=Manohar Laxman Varadpande\|publisher=Abhinava Publications\|pages=~~11-17~~,178\|url=https://books.google.com/books?id=fOZB7MbeMrAC~~&pg=PA173~~&dq=Bhana&hl=~~en&sa=X&ei=5D3kU4XsJcns8AWP3oCACw&ved=0CC4Q6AEwAw#v=onepage&q=Bhana&f=false~~ }}</ref>		In the [[Vedic]] literature, there are several references to singing, dancing, music and entertaining performances by professional entertainers. In the [[Rig Veda]] there are '' [[mantra]]s'' with pronounced story element in dialogue form – dramatic soliloquy, dialogue and chorus, traditionally known as ''Akhyana'' which fact points at the existence of some kind of drama-entertainment e.g. "The Repentant Gambler" [[Rig Veda]] X.3.5, "The Frog Play" ([[Rig Veda]] VII.6), "Yama and Yami" [[Rig Veda]]X.1, "Chorus" [[Rig Veda]] IX.11. Some scholars think that such dramatic hymns were enacted by the priests at the time of [[Yajna]] ceremonies; it is possible that the drama proper emanated from the rituals then performed. ''Bhāna Padataditakam'' set in the city of Ujjayani describes ''Bhāṇa'' plays as ''Eka Nata Nātak'' or single actor play.<ref>{{cite book\|title=History of Indian Theatre\|author=Manohar Laxman Varadpande\|year=1987\|publisher=Abhinava Publications\|pages=11–17,178\|isbn=9788170174301\|url=https://books.google.com/books?id=fOZB7MbeMrAC&dq=Bhana&pg=PA173 }}</ref>

	As per the rules laid down by Bharata in the 4th or the 5th century A.D., Bhāṇa, described by him in Chapter 19 of [[Natyasastra\|Nātyaśastra]], is a monologue spoken by a dissolute hero called ''viṭa'', dialogue is simulated by having the ''viṭa'' respond to imagined voices or asking questions of unseen characters and repeating their answers to the audience; Bharata insists that plays of this type should contain the elements of a kind of dance called the ''lāsya'' but did not favour the graceful style called ''kaiśikī vṛtti'', which allows for love and gallantry. Many centuries later, Dhananjaya specified that a ''bhāṇa'' should be rendered in the ''bhāratī vṛtti'' and that the heroic (''vīra'') and erotic (''śṛṅgāra'') sentiments should prevail but like Bharata did not make specific mention of the comic element; ''bhāratī vṛtti'' suggests the comic element and allows ''kaiśikī vṛtti''.<ref>{{cite book\|title=Social Science in Sanskrit Literature\|author=Daniel James Bisgaard\|publisher=Motilal Banarsidass\|pages=87\|url= https://books.google.com/books?id=VxnY-9Mb0qIC~~&pg=PA87~~&dq=Bhana&hl=~~en&sa=X&ei=5D3kU4XsJcns8AWP3oCACw&ved=0CE8Q6AEwCQ#v=onepage&q=Bhana&f=false~~ }}</ref>		As per the rules laid down by Bharata in the 4th or the 5th century A.D., Bhāṇa, described by him in Chapter 19 of [[Natyasastra\|Nātyaśastra]], is a monologue spoken by a dissolute hero called ''viṭa'', dialogue is simulated by having the ''viṭa'' respond to imagined voices or asking questions of unseen characters and repeating their answers to the audience; Bharata insists that plays of this type should contain the elements of a kind of dance called the ''lāsya'' but did not favour the graceful style called ''kaiśikī vṛtti'', which allows for love and gallantry. Many centuries later, Dhananjaya specified that a ''bhāṇa'' should be rendered in the ''bhāratī vṛtti'' and that the heroic (''vīra'') and erotic (''śṛṅgāra'') sentiments should prevail but like Bharata did not make specific mention of the comic element; ''bhāratī vṛtti'' suggests the comic element and allows ''kaiśikī vṛtti''.<ref>{{cite book\|title=Social Science in Sanskrit Literature\|author=Daniel James Bisgaard\|year=1994\|publisher=Motilal Banarsidass\|pages=87\|isbn=9788120811164\|url= https://books.google.com/books?id=VxnY-9Mb0qIC&dq=Bhana&pg=PA87 }}</ref>

	[[Abhinavagupta]] states that ''bhānas'' are chronicles of prostitutes and men who live by their wit. Kohala is of the view that the ''bhānas'' should have only ''śṛṅgārarasa''. Saradātanaya states:		[[Abhinavagupta]] states that ''bhānas'' are chronicles of prostitutes and men who live by their wit. Kohala is of the view that the ''bhānas'' should have only ''śṛṅgārarasa''. Saradātanaya states:
Line 11:		Line 11:

	: "The characteristics of ''bhāna'' are described by experts such as Kohala and others as being arrived at by ten ''lāsyāṅgas'' (the traditional forms of dance)……… "		: "The characteristics of ''bhāna'' are described by experts such as Kohala and others as being arrived at by ten ''lāsyāṅgas'' (the traditional forms of dance)……… "
	Śārṅgadeva defines ''lāsya'' as a delicate dance that stimulates erotic sentiments. From ''bhāṇas'' there developed two minor dramatic types – ''bhāṇaka'' and ''bhāṇikā'' or ''bhāna'' and ''bhāni''.<ref>{{cite book\|title=Movement and Mimesis: The Idea of Dance in Sanskrit Tradition\|author=Mandakranta Bose\|publisher=Springer\|pages=144,151,49\|url= https://books.google.com/books?id=3M-8oyu0kvgC~~&pg=PA150~~&dq=Bhana&hl=~~en&sa=X&ei=7U3kU62TMIbk8AWH4IKgCA&ved=0CB8Q6AEwATgK#v=onepage&q=Bhana&f=false~~ }}</ref>		Śārṅgadeva defines ''lāsya'' as a delicate dance that stimulates erotic sentiments. From ''bhāṇas'' there developed two minor dramatic types – ''bhāṇaka'' and ''bhāṇikā'' or ''bhāna'' and ''bhāni''.<ref>{{cite book\|title=Movement and Mimesis: The Idea of Dance in Sanskrit Tradition\|author=Mandakranta Bose\|year=1991\|publisher=Springer\|pages=144,151,49\|isbn=9780792313250\|url= https://books.google.com/books?id=3M-8oyu0kvgC&dq=Bhana&pg=PA150 }}</ref>

	Early ''Nāṭyaśāstra'' tradition describes eleven genres of [[Sanskrit drama]]s, and ''Bhāṇa'' is one of them; these genres had evolved around different cultural and social settings representing diverse patronage. ''Bhāṇa'' is a single act play with two conjectures or sandhis – the opening and the conclusion; it is a drama where a single actor creates a number of characters and episodes by his mono-acting. In this genre, the plot is invented and usually deals with a gallant parasite (''viṭa'') who goes on an errand to appease a courtesan ladylove his noble friend. All en route happenings are narrated with ingenious techniques of ''ekāhārya abhinaya'' (the adoption of characters without the change of costumes or get-up) resorting to the stage convention of ''ākāśa bhāṣita'' (speech in the air) to hold forth conversations with imaginary characters who are not seen on the stage.<ref>{{cite book\|title=Sanskrit Play Production in Ancient India\|author=Tarla Mehta\|publisher=Motilal Banarsidass\|page=118\|url= https://books.google.com/books?id=l7naMj1UxIkC~~&pg=PA374~~&dq=Bhana&hl=~~en&sa=X&ei=7U3kU62TMIbk8AWH4IKgCA&ved=0CCsQ6AEwAzgK#v=onepage&q=Bhana&f=false~~ }}</ref>		Early ''Nāṭyaśāstra'' tradition describes eleven genres of [[Sanskrit drama]]s, and ''Bhāṇa'' is one of them; these genres had evolved around different cultural and social settings representing diverse patronage. ''Bhāṇa'' is a single act play with two conjectures or sandhis – the opening and the conclusion; it is a drama where a single actor creates a number of characters and episodes by his mono-acting. In this genre, the plot is invented and usually deals with a gallant parasite (''viṭa'') who goes on an errand to appease a courtesan ladylove his noble friend. All en route happenings are narrated with ingenious techniques of ''ekāhārya abhinaya'' (the adoption of characters without the change of costumes or get-up) resorting to the stage convention of ''ākāśa bhāṣita'' (speech in the air) to hold forth conversations with imaginary characters who are not seen on the stage.<ref>{{cite book\|title=Sanskrit Play Production in Ancient India\|author=Tarla Mehta\|year=1995\|publisher=Motilal Banarsidass\|page=118\|isbn=9788120810570\|url= https://books.google.com/books?id=l7naMj1UxIkC&dq=Bhana&pg=PA374 }}</ref>

	In the [[Brihadaranyaka Upanishad]] verse I.ii.4,		In the [[Brihadaranyaka Upanishad]] verse I.ii.4,
Line 19:		Line 19:
	: तं जातमभिव्याददात्स भाणमकरोत्chaiva वागभवत् \|\|		: तं जातमभिव्याददात्स भाणमकरोत्chaiva वागभवत् \|\|

	the term ''Bhāṇam'' (भाणम) refers to the sound ''bhān'' uttered by [[Brahman]] consisting of light and knowledge, and joy; and simultaneously speech arose. The arising of speech means the creation of the worlds, i.e. act of creation. The Lord himself is called ''bhāna'', because His form is ''Bhā'' – light and knowledge and ''na'' – bliss or joy.<ref>{{cite book\|title=The Brihadaranyaka Upanishad\|publisher=Genesis Publishing\|page=19\|url= https://books.google.com/books?id=0sIq2gHSxgkC~~&pg=PA22~~&dq=Bhana&hl=~~en&sa=X&ei=7U3kU62TMIbk8AWH4IKgCA&ved=0CEwQ6AEwCTgK#v=onepage&q=Bhana&f=false~~ }}</ref>		the term ''Bhāṇam'' (भाणम) refers to the sound ''bhān'' uttered by [[Brahman]] consisting of light and knowledge, and joy; and simultaneously speech arose. The arising of speech means the creation of the worlds, i.e. act of creation. The Lord himself is called ''bhāna'', because His form is ''Bhā'' – light and knowledge and ''na'' – bliss or joy.<ref>{{cite book\|title=The Brihadaranyaka Upanishad\|year=2007\|publisher=Genesis Publishing\|page=19\|isbn=9788130705293\|url= https://books.google.com/books?id=0sIq2gHSxgkC&dq=Bhana&pg=PA22 }}</ref>

	==References==		==References==