Act I, Mrichchhakatika Mrichchhakatika -- Separate
Description: Act I, Mrichchhakatika Mrichchhakatika -- Separate titles for every Act Mrichchhakatika is probable the first in the history of Sanskrit Drama or in Indian theatrical tradition to have separate titles for each act as it is found in the
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slide1. Act I, Mrichchhakatika<br>
slide2. Mrichchhakatika -- Separate titles for every Act Mrichchhakatika is probable the first in the history of Sanskrit Drama or in Indian theatrical tradition to have separate titles for each act as it is found in the plays of Brecht the twentieth century German playwright.
Brecht gave the titles in the beginning of the acts while Sudraka gave the titles at the end of the acts in Mrichchhakatika.<br>
slide3. Act I ‘Depositing of the Ornament’<br>
slide4. Act I : ‘Depositing of the Ornament’ Vidhusaka is introduced After the prologue the first act introduces the audience with the Vidhusaka of the play.
Vidhusaka is a stock character of Sanskrit theatre, well known for witty dialogue, jocular speech, ugly appearance, fanciful costume and eccentric gestures.
He is intelligent and confidante and counsellor of the hero.
In a traditional Sanskrit play Vidhusaka allows himself to be the subject of ridicule and with his witty speech Vidhusaka becomes the humorous companion of the hero.
Vidhusaka also freely makes satirical comments on religious institutions, political authorities and social customs.
In Mrichchhakatika Maitreya, the friend and companion of Charudatta, appears the Vidhasaka of the play<br>
slide5. Act I : ‘Depositing of the Ornament’ continues… Charudatta the hero is introduced The first act also introduces the audience with Charudatta the hero of the play Mrichchhakatika.
Charudatta, like the conventional hero of a Sanskrit play is polite, noble, virtuous, good-natured and a lover of art and beauty.
Charudatta was once a powerful businessman of Ujjayini, but now a poor Brahman because of his virtues and for his donation of his wealth to the needy people.<br>
slide6. Act I : ‘Depositing of the Ornament’ continues… The theme of poverty is developed In the first act, after the prologue, Charudatta and Maitreya are seen in a conversation.
Maitreya hands over to Charudatta the clock scented with the blossoms of Jasmine flower given by one of his friends.
Highlighting his pathetic condition Charudatta says that a rich man, if reduced to poverty, lives like a dead man. He prefers death to poverty because for him death gives temporary pain but poverty gives unending misery.
He further says that loss of money leads to loss of friends and guests and that loss is the cause of his misery. So Charudatta calls pennilessness the abode of all sorts of misfortunes, abode of anxiety and the source of highest insult.
Both of them go for holy meditation.
Offstage, the cry is heard ‘Stay, Vasantasena, stay.’<br>
slide7. Act I : ‘Depositing of the Ornament’ continues… Vasantasena the heroine is introduced Vasantasena, a beautiful courtesan, is expert in fine arts and well known for her skill in singing and dancing.
Vasantasena represents art and beauty, holds a respectable place as an artist like Sartre’s ‘Respectable Prostitute’.
But the common woman is not allowed to rise above her situation. Instead she is reduced to a mere whore or a commodity by the powerful class misusing power and as a result now towards the house of her lover Charudatta she is running on street to save her life and dignity from Sakara and his followers Vita and Cheta and finally she enters into the house of Chaarudatta.<br>
slide8. Act I : ‘Depositing of the Ornament’ continues… Sakara the villain is introduced Sakara, the brother-in-law of the King Palaka, is the villain, the Samsthanaka in the tradition of Sanskrit drama.
He represents a mixture of pride, folly and vanity and corrupt legal system.
He is called Sakara because he speaks the Sakari dialect giving stress on ‘shh’ sound more.
The speeches of Sakara are full of repetitions, absurd comparisons, irrelevancies, confusion, ignorance and pretension and blunders in mythical references creating an atmosphere of laughter.
He misuses power and tries to win Vasantasena by force. Being rejected by Vasantasena he diminishes her self respect, subdues her ‘self’ and wants to possess her at any cost.<br>
slide9. Act I : ‘Depositing of the Ornament’ continues… the characters of Vita and Cheta… Vita and Cheta, the stock characters in the tradition of a Sanskrit drama, are the companions of Sakara who assist their master in his activities.
Vita, one of the intelligent characters in Indian theatre, knows the truth and reality well, but pretends to follow his master only to please him.
Only to please Sakara he calls Vasantasena an article for sale and a harlot and advises her to wait upon all equally.<br>
slide10. Act I : ‘Depositing of the Ornament’ continues… the characters of Vita and Cheta… In reality he lets her to escape from the clutches of Sakara understanding that a jewel unites with a jewel referring to her relation with Charudatta.
He appreciates Charudatta’s virtues and says that though they are armed with real weapons but are conquered by the virtues of Charudatta and decides to leave his house.
He tries to make Sakara understand that only an animal can be held by means of force but a woman by heart. Finally they depart from Charudatta’s house.<br>
slide11. Act I : ‘Depositing of the Ornament’ continues… After Sakara’s departure, Vasantasena appears before Charudatta and seeks pardon for her intrusion.
Charudatta, who considers her a goddess to be worshipped, seeks pardon for not recognising and treating her like a servant.
Vidhusaka calls them two paddy fields saluting each other and calls himself a camel-colt’s knee.
Vasantasena wants permission from Charudatta to keep her golden casket full of ornaments in his house.
Charudatta says that his house is not a fit place for keeping a deposit.
Vasantasena says that deposits are entrusted to persons, not to houses. Charudatta agrees to keep her deposit and escorts her to her home ensuring her safety. Here the Act I entitled ‘Depositing of the Ornaments’ ends.<br>
slide2. Mrichchhakatika -- Separate titles for every Act Mrichchhakatika is probable the first in the history of Sanskrit Drama or in Indian theatrical tradition to have separate titles for each act as it is found in the plays of Brecht the twentieth century German playwright.
Brecht gave the titles in the beginning of the acts while Sudraka gave the titles at the end of the acts in Mrichchhakatika.<br>
slide3. Act I ‘Depositing of the Ornament’<br>
slide4. Act I : ‘Depositing of the Ornament’ Vidhusaka is introduced After the prologue the first act introduces the audience with the Vidhusaka of the play.
Vidhusaka is a stock character of Sanskrit theatre, well known for witty dialogue, jocular speech, ugly appearance, fanciful costume and eccentric gestures.
He is intelligent and confidante and counsellor of the hero.
In a traditional Sanskrit play Vidhusaka allows himself to be the subject of ridicule and with his witty speech Vidhusaka becomes the humorous companion of the hero.
Vidhusaka also freely makes satirical comments on religious institutions, political authorities and social customs.
In Mrichchhakatika Maitreya, the friend and companion of Charudatta, appears the Vidhasaka of the play<br>
slide5. Act I : ‘Depositing of the Ornament’ continues… Charudatta the hero is introduced The first act also introduces the audience with Charudatta the hero of the play Mrichchhakatika.
Charudatta, like the conventional hero of a Sanskrit play is polite, noble, virtuous, good-natured and a lover of art and beauty.
Charudatta was once a powerful businessman of Ujjayini, but now a poor Brahman because of his virtues and for his donation of his wealth to the needy people.<br>
slide6. Act I : ‘Depositing of the Ornament’ continues… The theme of poverty is developed In the first act, after the prologue, Charudatta and Maitreya are seen in a conversation.
Maitreya hands over to Charudatta the clock scented with the blossoms of Jasmine flower given by one of his friends.
Highlighting his pathetic condition Charudatta says that a rich man, if reduced to poverty, lives like a dead man. He prefers death to poverty because for him death gives temporary pain but poverty gives unending misery.
He further says that loss of money leads to loss of friends and guests and that loss is the cause of his misery. So Charudatta calls pennilessness the abode of all sorts of misfortunes, abode of anxiety and the source of highest insult.
Both of them go for holy meditation.
Offstage, the cry is heard ‘Stay, Vasantasena, stay.’<br>
slide7. Act I : ‘Depositing of the Ornament’ continues… Vasantasena the heroine is introduced Vasantasena, a beautiful courtesan, is expert in fine arts and well known for her skill in singing and dancing.
Vasantasena represents art and beauty, holds a respectable place as an artist like Sartre’s ‘Respectable Prostitute’.
But the common woman is not allowed to rise above her situation. Instead she is reduced to a mere whore or a commodity by the powerful class misusing power and as a result now towards the house of her lover Charudatta she is running on street to save her life and dignity from Sakara and his followers Vita and Cheta and finally she enters into the house of Chaarudatta.<br>
slide8. Act I : ‘Depositing of the Ornament’ continues… Sakara the villain is introduced Sakara, the brother-in-law of the King Palaka, is the villain, the Samsthanaka in the tradition of Sanskrit drama.
He represents a mixture of pride, folly and vanity and corrupt legal system.
He is called Sakara because he speaks the Sakari dialect giving stress on ‘shh’ sound more.
The speeches of Sakara are full of repetitions, absurd comparisons, irrelevancies, confusion, ignorance and pretension and blunders in mythical references creating an atmosphere of laughter.
He misuses power and tries to win Vasantasena by force. Being rejected by Vasantasena he diminishes her self respect, subdues her ‘self’ and wants to possess her at any cost.<br>
slide9. Act I : ‘Depositing of the Ornament’ continues… the characters of Vita and Cheta… Vita and Cheta, the stock characters in the tradition of a Sanskrit drama, are the companions of Sakara who assist their master in his activities.
Vita, one of the intelligent characters in Indian theatre, knows the truth and reality well, but pretends to follow his master only to please him.
Only to please Sakara he calls Vasantasena an article for sale and a harlot and advises her to wait upon all equally.<br>
slide10. Act I : ‘Depositing of the Ornament’ continues… the characters of Vita and Cheta… In reality he lets her to escape from the clutches of Sakara understanding that a jewel unites with a jewel referring to her relation with Charudatta.
He appreciates Charudatta’s virtues and says that though they are armed with real weapons but are conquered by the virtues of Charudatta and decides to leave his house.
He tries to make Sakara understand that only an animal can be held by means of force but a woman by heart. Finally they depart from Charudatta’s house.<br>
slide11. Act I : ‘Depositing of the Ornament’ continues… After Sakara’s departure, Vasantasena appears before Charudatta and seeks pardon for her intrusion.
Charudatta, who considers her a goddess to be worshipped, seeks pardon for not recognising and treating her like a servant.
Vidhusaka calls them two paddy fields saluting each other and calls himself a camel-colt’s knee.
Vasantasena wants permission from Charudatta to keep her golden casket full of ornaments in his house.
Charudatta says that his house is not a fit place for keeping a deposit.
Vasantasena says that deposits are entrusted to persons, not to houses. Charudatta agrees to keep her deposit and escorts her to her home ensuring her safety. Here the Act I entitled ‘Depositing of the Ornaments’ ends.<br>