Sanskrit Play Stage:

 According to Bharata, the stage proper is divided into three parts
1. Two doored green room at the back (nepathyagrÅa)
2. The stage head, which was elevated portion (ranga¿¢rÀa)
3. The actual acting space of the (rangap¢da) 

Types of Theatres 

In chapter second from Natyashastra, Bharata describes three types of theatres. They are
1. Rectangular ( vik¤Àtam)
2. The square (catura¿ram)
3. The triangular (trasyam)
Each of these may be large, medium and small according to the requirements.

The theatre space was divided in to three portions
1. Daiva for the gods
2. Gandharva for the celestial singers
3. ManuÀa for the human beings.

 These are again divided in to jyeÀtam, madyamam, kan¢yam. But Bharata recommends a middle size house. The theatre should be attractive with full of carvings, wood work and have paintings on the walls. 

Features of Sanskrit drama

1. In comparison with western drama, we can see the entire absence of tragedy. Drama in Sanskrit has never a sad ending.
2. The lyrical stanza and prose dialogue appear in mixed style.
3. There is a use of Sanskrit for some characters and Prakrit for others.
4. The Vid£Àaka usually plays a prominent part, while the hero and heroine are often in the depth of despair.
5. The emotions of terror, grief or pity inspire the audience. They are then tranquilized by the happy termination of the story.
6. Sanskrit drama is divided into scenes and acts.
7. The number of acts in a play varies from one to ten.
8. Death is not allowed to be represented on the stage. So also degradation, banishment, natural calamity, biting, scratching, kissing, eating and sleeping etc cannot be performed on the stage.
9. Sanskrit play are full of lyrical passages, usually consisting of fourtwo line stanzas.
10. Sanskrit dramatists show considerable skill in weaving the incidents of the plot.
11. The story is commonly borrowed from history, Epic or legend.
12. Love is the chief subject of most Indian play.
13. The hero is usually a king, already the husband of one more wives.
A Sanskrit play begins with a prologue and regularly opens with a benediction.

Euphuism

Euphuism

🔹 Euphuism is an elaborately patterned prose style, characterized in particular by the extensive use of similes and metaphors, parallelism, alliteration, and antithesis.                      
🔹 Derives its name from the moralistic prose romance Euphuism: The Anatomy of Wit (1578) by John Lyly

Comic Relief

Comic Relief

🔹 an amusing scene, incident, or speech introduced into serious or tragic elements, as in a play, in order to provide temporary relief from tension, or to intensify the dramatic action.                      
 🔹 Its main purpose is to alleviate tension and adding variety in more carefully wrought play                      
 🔹 examples...
1. The Gravedigger scene in Hamlet
2. The scene of drunken porter after the murder of the king in Macbeth
3. The Falstaff scene in Henry lV part l
4. The roles of Mercutio and the old nurse in Romeo and Juliet

Comedy of Humors

Comedy of Humors

Ben Johnson is the first dramatist, who conceived and popularized this dramatic genre during late sixteenth century. The term humor derives from Latin word ‘humor’ that means liquid. It comes from a theory that human body has four liquids or humors, which include phelgm, blood, yellow bile and black bile. It explains that when human beings have balance of these humors in their bodies, they remain healthy.

Carpe Diem

Carpe Diem

🔹The origin of this phrase is tracked to a Latin poem from the book of Horace, “Odes Book-I.”.

🔹Later, many writers used it as a quote in their works. For instance, Lord Byron included it in his work “Letters.”

🔹Horace uses it in his poem a,
* “Dum loquimur, fugerit invida/Aetas: carpe diem, quam minimum credula postero.”*

🔹According to Horace, our future is unpredicted, so we should do whatever we can do today, and do not just depend upon chances and opportunities that you may hope to come in your future.                      
🔹 The exact meaning of this phrase is to “seize the day.” It is a proverb. It means that one should act today and ignore the future.