Theatre and Its Other : : Abhinavagupta on Dance and Dramatic Acting / / Elisa Ganser.

• Superior document: Gonda Indological Studies ; Volume 23
• VerfasserIn: Ganser, Elisa,
• Place / Publishing House: Leiden, The Netherlands : : Koninklijke Brill nv,, 2022.; ©2021
• Year of Publication: 2022
• Edition: First edition.
• Language: English
• Series: Gonda indological studies ; Volume 23.
• Physical Description: 1 electronic resource (428 p.)

In Theatre and Its Other, Elisa Ganser revisits a telling debate on the intertwined natures of dance and dramatic acting; preserved in Abhinavagupta’s eleventh-century commentary on the Nāṭyaśāstra, it reflects complex historical shifts in aesthetic theory and performance practice. ; Readership: All those interested in the history of Indian dance and theatre and in Abhinavagupta’s aesthetics, including scholars and students of Indology, performance, dance, and theatre studies, as well as performers.

Table of Contents

Intro -- ‎Contents -- ‎Preface -- ‎Introduction -- ‎Chapter 1. Nāṭyaśāstra and Abhinavabhāratī: Trends and Open Questions -- ‎1.1. Editorial History and Textual Reception -- ‎1.2. Archiving Performance: Texts and Images -- ‎1.3. The Nāṭyaśāstra and the Place of Dance -- ‎1.3.1. Composition, Authorship, and Date -- ‎1.3.2. Narrative Structure -- ‎1.3.3. The Tāṇḍavādhyāya -- ‎1.4. The Abhinavabhāratī: A Medieval Document on Performance -- ‎1.4.1. The Many Voices Recorded in the Chapter on Dance -- ‎Part 1. Practice and Aesthetics of Indian Dance -- ‎Chapter 2. Formalizing Dance, Codifying Performance -- ‎2.1. Nāṭya, nṛtta, and nṛtya between Movement and Mimesis -- ‎2.2. Dance as Technique: aṅgahāra, karaṇa, recaka -- ‎2.3. Between Gender and Genre: tāṇḍava, sukumāra, lāsya -- ‎2.3.1. Grace and Vehemence in the Nāṭyaśāstra -- ‎2.3.2. Grace and Vehemence in the Abhinavabhāratī -- ‎2.4. Expanding the Idea of nṛtta -- ‎2.5. Tradition, Creativity, and Artistry: A Śaiva Perspective -- ‎Chapter 3. The Aesthetics of Dance -- ‎3.1. Dance within Theatre, Dance without Theatre -- ‎3.2. Enacting Emotions: A vademecum for the Actor -- ‎3.3. Communication without Words -- ‎3.3.1. Dramatic Mimesis vs Imitation -- ‎3.4. Dance, Beauty, and the Fabrication of Dramatic Fiction -- ‎3.4.1. On the Psychagogic Power of Dance -- ‎3.4.2. Like a Fire-Wheel: Dance and Fiction -- ‎3.5. Reshaping the Idea of abhinaya in Dance -- ‎Part 2. Critical Edition and Annotated Translation of Abhinavabhāratī ad Nāṭyaśāstra 4.261cd-269ab -- ‎Chapter 4. Introduction to the Edition -- ‎4.1. General Remarks on the Transmission of the Abhinavabhāratī -- ‎4.2. Genealogy of the Present Text: The Sources -- ‎4.2.1. Editions -- ‎4.2.1.1. The Baroda or Gaekwad Edition (= E1) -- ‎4.2.1.2. The Madhusudan Shastri Edition (= E2) -- ‎4.2.1.3. The Nagar Edition (= E3).

‎4.2.1.4. The Dvivedi Edition (= E4) -- ‎4.2.2. Manuscripts -- ‎4.2.2.1. Manuscripts Containing the Fourth Chapter -- ‎4.2.2.2. Relationship between the Manuscripts -- ‎4.3. A Note on the Sanskrit Text and Translation -- ‎4.4. Symbols and Abbreviations in the Apparatus -- ‎Analysis of ABh ad NŚ 4.261cd-269ab -- ‎Edition and Translation: Abhinavabhāratī ad Nāṭyaśāstra 4.261cd-269ab -- ‎Appendix: Hemacandra's Kāvyānuśāsana -- ‎Bibliography -- ‎Index.