Theatre and Its Other

Elisa Ganser, Ph.D. (La Sapienza, Rome), is a researcher at the Department of Indian Studies at the University of Zurich. She has published articles on Indian theatre and dance, and co-edited Theatrical and Ritual Boundaries in South Asia (CIS 19.1–2, 20.1).

Preface



0 Introduction

 0.1 A Forgotten Chapter in the History of Indian Aesthetics

 0.2 Recovering Dance through Texts: A Note on Method



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 in It

 1.4 The Abhinavabhāratī: A Medieval Document on Performance



Part 1 Practice and Aesthetics of Indian Dance



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

 2.4 Expanding the Idea of nṛtta

 2.5 Tradition, Creativity, and Artistry: A Śaiva Perspective



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

 3.4 Dance, Beauty, and the Fabrication of Dramatic Fiction

 3.5 Reshaping the Idea of abhinaya in Dance



Part 2 Critical Edition and Annotated Translation of Abhinavabhāratī ad Nāṭyaśāstra 4.261cd–269ab



4 Introduction to the Edition

 4.1 General Remarks on the Transmission of the Abhinavabhāratī

 4.2 Genealogy of the Present Text: The Sources

 4.3 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: Kāvyānuśāsana of Hemacandra (pp. 445–449)

Bibliography

Index