The different forms of Indian Theatre

Forms of Indian theatre are numerous and the rich account of Indian drama unveils the verity that Indian theatre has a deep-rooted relation with Indian epics and Indian mythologies.

The different forms of Indian Theatre 4

This later not only structured the rich forms of Indian theatre but also aided in making Indian `Natya ` stand apart as a whole new form of expression. India has the most recollect tradition in theatre which goes back to 5000 years. According to the rich timeline of Indian natya, it has its roots deeply allied with Vedic ritualism and with age-old socio-cultural anthropology which delineated the development of various dramatic forms of Indian theatre.

Classical Indian Dance Drama

The aristocratic and religious fervour of the Sanskrit dramas which ruled the Indian drama and art forms during the ancient era somewhat lost its grandeur with the introduction of Indian classical dance drama.

Traditional Indian Theatre

The forms of Indian theatre acquired a rather a whole new facet with the emergence of the traditional Indian theatres. The mudras and rasas of the classical Indian dance-drama were rather rationalised with the traditional aspects of Indian theatre.

Folk Theatre In India

Gone are the days of traditional aspects which ruled the Indian theatre during the medieval period. Today a reorganised and streamlined form of Indian theatre has emerged which originated during the late 15th century. Folk theatre as it has been named this art form actually has its roots associated with the times of the ancient times.

Puppet theatre

Forms of Indian theatre witnessed a marked change with the introduction of the Indian puppet theatre during the fag end of the medieval period. Although puppetry started in a rather crude way in the cradles of evolution yet it is after the immense success of Indian folk theatre Indian puppet theatre gradually made its presence felt.

These are just a very few of the numerous theatres that are present since ancient times in India.

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