Relationship to Audience
Relationship to the Audience
This was the period (known as the Indian golden age of Hindu culture) around 300 CE that
embodied plays written in Sanskrit, the language of the noble class. The Little Clay Cart
written by King Sudraka uses a mixture of languages, Sanskrit and local, giving insight into who the audience was. There is not an abundance of documents retrieved between the
second and third centuries in India, but the few that survive, like the Natyasastra, help us
learn about their theatre practices.
embodied plays written in Sanskrit, the language of the noble class. The Little Clay Cart
written by King Sudraka uses a mixture of languages, Sanskrit and local, giving insight into who the audience was. There is not an abundance of documents retrieved between the
second and third centuries in India, but the few that survive, like the Natyasastra, help us
learn about their theatre practices.
Original Context
According to the Natyasastra, we know their theatre seated between 200-500 people, with
four divided pillars. They were marked white, yellow, red, and blue, indicating where individuals
of different castes would sit. Including men and women. This explains that these plays were
performed for the village public and for nobility. From supporting documents, plays were
invited to perform for the courts of nobility privately.
four divided pillars. They were marked white, yellow, red, and blue, indicating where individuals
of different castes would sit. Including men and women. This explains that these plays were
performed for the village public and for nobility. From supporting documents, plays were
invited to perform for the courts of nobility privately.
The prologues in the plays, and in The Little Clay Cart in which the director speaks directly
to the audience detailing a layout of the play’s background story, suggest that these plays may have also been performed at temple festivals, which included a wide ranged group of
people.
to the audience detailing a layout of the play’s background story, suggest that these plays may have also been performed at temple festivals, which included a wide ranged group of
people.
- Rasa: portrayal of emotion and upbringing that emotion in the audience's heart, for the viewer to become immersed and identify himself on stage ---- The Little Clay Cart included all social standing,the Brahmins, Kshatriyas (warriors and rulers), Vaishyas (traders, merchants, farmers) and the Shudras (labourers)
- spiritual, religious, and moral Indian culture among the people using dance and music
- Hinduism stresses
the end. Sending a message to stay true to being a good human being and fortune will
come. (KARMA!)
Today
- Societal idea that money makes you happy, you can have whatever you want if you have money
- Monarchy in England and other countries
- Wrongful Accusations in Court
Modern Performance
In the 1930’s, The Neighborhood Playhouse produced The Little Clay Cart on Broadway directed by
Agnes Morgan with no religious, social, or cultural showcase. (the intent of Sanskrit drama) It
removed religious rituals, dances, and songs, and commercialized and romanticized Indian
Agnes Morgan with no religious, social, or cultural showcase. (the intent of Sanskrit drama) It
removed religious rituals, dances, and songs, and commercialized and romanticized Indian
Sources
Wilson, Edwin, et al. “Early Asian Theatres.” Living Theatre: a History of Theatre,
W.W. Norton & Company, 2018, pp. 97–101.
W.W. Norton & Company, 2018, pp. 97–101.
Sanskrit Drama: Theory and Performance. Western Michigan University, 2018., 2018,
https://muse-jhu-edu.nuncio.cofc.edu/article/661617.
https://muse-jhu-edu.nuncio.cofc.edu/article/661617.
“The Distance Traveled: Little Clay Cart in Athens, Georgia.” Studylib, https://studylib.net/doc/7592425/the-distance-traveled--little-clay-cart-in-athens--georgia.
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