 |
In the Silappadikaram, the lights are
spoken of. It is said that they must be so arranged as not to make the
pillars cast shadows on the king and his party or the other spectators
in the audience hall. The lights are said to be big and beautiful. The
curtains are then described. The text mentions three curtains; Oru Muha Ezhini, Poru Muha Ezhini, and Karanduvaral Ezhini.
The first-mentioned curtain is one which is pulled along to one side,
the next is a double curtain, cleft at the middle, the two bits
shrinking separately at the two sides, enabling entrance. The
last-mentioned curtain is one that rolls upwards and downwards. The,
first commentary gives some more details as regards these three
curtains. The single curtain shrinking to one side is said to be fixed
on the left side, the double cleft-curtain on the right side, and the
rolling one in the front. Thus the right side having the double curtain,
has the gate of entrance for the danseuse. The second commentator says
that the rolling curtain is for occasions of Akasa Charins, those
appearing in the sky, such as the Devas. These pertain to drama and not
to dance. This mystifying reference, however, shows us that there are
other texts which describe a stage completely from the point of view of
not only dance, which is performed by one person, but from the point of
view of drama also, which has many persons personating in it, and
consequently needs greater equipment about the stage.
(‘Theatre-Architecture in Ancient India’ by V. Raghavan)
|
