Bhana: Difference between revisions

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|year=1994|publisher=Motilal Banarsidass|pages=87|isbn=9788120811164|url= https://books.google.com/books?id=VxnY-9Mb0qIC&dq=Bhana&pg=PA87 }}</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|year=1995|publisher=Motilal Banarsidass|page=118|isbn=9788120810570|url= https://books.google.com/books?id=l7naMj1UxIkC&dq=Bhana&pg=PA374 }}</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>