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...

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.