History of Indian Theatre and Odia Theatre Traditions
This domain checks chronological and regional knowledge: Sanskrit theatre, rasa theory, folk performance, and the distinct strands of Odia theatre. Questions often ask you to identify a form from its features rather than merely name it.
Core map
- Bharata's Natyashastra is the foundational Sanskrit treatise on drama, covering rasa, acting, music, and stagecraft; its dating is debated.
- Sanskrit theatre used codified gesture, poetry, music, and stock characters; Kutiyattam in Kerala is a living descendant.
- Rasa theory holds that performance evokes aesthetic emotions in the spectator; navarasa names nine such states.
- Odia traditions include Jatra, Suanga, Pala, Daskathia, Chhau, Ravana Chhaya, Ghoda Nacha, Sakhi Nacha, and Prahlad Nataka.
- Modern Odia theatre absorbed company theatre, Parsi-style staging, and social themes alongside mythological jatra.
Worked example
A performance uses a screen, flat leather puppets, an oil lamp, and a singer narrating episodes from the Ramayana. Reasoning: the screen and backlit puppets rule out mask dance and human jatra; the narrating singer and epic content fit Ravana Chhaya, Odisha's shadow-puppet tradition. The answer should name the form and its medium, not call it Chhau.
Exam traps
- Calling every Odia folk form 'jatra'.
- Treating Chhau as one uniform form; Mayurbhanj Chhau is generally maskless, while Seraikella and Purulia use masks.
- Confusing Ravana Chhaya (puppetry) with mask theatre.
- Placing Sanskrit theatre and modern Odia theatre on the same timeline without evidence.