Analysis Of Mahesh Dattani's Natyashastra

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The need for rethinking an alternative means of assessing performance in theatre studies arises because it was never gesture-centric, uniform signs or culturally inclusive. Amossy articulated a challenging nature of the ‘peculiar nature of the pluricodified, multileveled theatrical system… the theatrical (poly)system’ in 1981 (Amossy, 1981, p. 5). These comments confirm insights that the approaches which earlier researchers chose and the perceptions with which they function will influence on what they may find and treat as vital. The present analysis of Mahesh Dattani’s play proposes to address this subject matter through examining Bharata’s Natyashastra. This research plan presents the case for rethinking the paradigms of production analysis in the 21st century, which transcends the challenge of theatre analysis as identified in the earlier quote. While this article does not cast the net much wider, I note that in important studies on theatre and film analysis in different volumes, Patrice Pavis searched for an ‘all-embracing universal methodology’, (Pavis, 1997) related to plot, characterization, and music, costume, and makeup Specifically regarding production analysis, Pavis (2003 and recently 2014), Whitmore (1994), Finelli (2011), and Mitra (2015) offered earlier insights. This article pursues a comparative study of theatrical models based on semiotics and the Natyashastra. The added focus on ‘the Natyashastra’ scholars is designed to gauge the influence of Kathakali

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