The term Bhana is derived from the root ‘Bhan’ which means ‘to speak.’ The characters. not present on stage, are heard through the mouth of the ones present on stage. Bhana is a single act presentation – ‘ekankam.’ Bharata explains Bhana to be a monologue narrated by a single actor, and yet, its theme is full of multiple characters and myriads of situations. Abhinavagupta also explained Bhana as a satirical performance by a single actor, talking to himself, breaking into conversation with the imaginary persons, imitating other characters, and chastising the high-class by lampooning their licentious ways.
वररुचिरीश्वरदत्तश्श्यामिलकशूद्रकश्च चत्वारः।
एते भाणान् बभणुः का शक्तिः कालिदासस्य।।
“vararucirīśvaradattaśśyāmilakaśūdrakaśca catvāraḥ|
ete bhāṇān babhaṇuḥ kā śaktiḥ kālidāsasya||”
The shloka above penned by an anonymous scholar mentions the Bhana(s) composed by Vararuchi, Ishwar Dutta, Shyamilaka, and Shudraka are so powerful in their speech and wit, that even Kalidasa cannot compete with them!
‘Chaturbhaani’ is a unified text amalgamating four Bhana(s) – Padmaprāvṛtakam, Ubhayābhisārikā, Pādatāḍitakam, Dhūrtavīṭasaṃvāda – written by Shudraka, Vararuchi, Shyamilaka, and Ishwar Dutta. In the performance, a character, Vit, starts a journey in the morning and meets several people throughout the city that finally culminate into a deep realization that becomes a timeless journey of a person.
Director
Piyal Bhattacharya is a theatre practitioner and scholarwho has evolved a holistic system of theatrical performanceenvisioned as ‘Marga Natya’ by him. He endeavours to mergethe wisdom and metaphysics embedded in the practice of vaak-anga-sattvaja Abhinaya based on Bharata’ssystem of performance of nritta-geet-vadya as stated in Natyashastra in praxis and performance.He has reconstructed the Natyashastra’sNritta, Geeta, and Kutapa (Bharata’s orchestrafeaturing his reconstruction of the ancient Vakra-veena, KachchhapiVeena, Mridanga, Dardura,and Panava). hehas revived the Purvaranga Vidhi, and reconstructed/directed many Uprupaka (s) (Bhana, Bhanika, Ramakrida).
Amongst various awards, accolades and fellowships received by Piyal, to name a few, are the Sangeet Natak Akademi Award in the field of othermajor theatre traditions of India – Sanskrit theatre; Honorary Maha Mahopadhyay title for hiscontribution in the field of Sanskrit studies and Tagore National Scholarship for his research on themetaphysics of inner and outer space in Bharata’s system of Sharirabhinaya.Trained under eminent Gurus in varied performing and literary arts, Piyal also contributes as a teacher, editor, and a resource person in the field of Classical Indian Drama.
Director’s Note
Bhana is enacted by one person as if he is hearing others, or the dialogue is coming through the background, ākāśabhāṣita, or he assumes different roles and enacts. It calls for a higher linguistic ability and seamlessness in performance as in ancient times, Bhana was the text that was used to prepare performers. The character, Vit, is a kalāvanta–proficient in arts. The process of preparation for this needs a deeper understanding of kavya, music, perfecting natya, and various aspects. The process of making Chaturbhaani started with sessions of learning music and playing musical instruments by the performers. Sessions under Ashtavadhani Shri Umamaheshwara N. from Bengaluru were organized to impart extensive training on the sahitya of Bhana and associated linguistic facets. What emanated from this process is ‘Chaturbhaani,’ a seed of contemplation and learning by students to present their process and embark on a journey to become a complete performer.
Group
Chidakash Kalalay was founded upon the practice and performance based on thewisdom of Bharata’s Natya-system, i.e. the Natyashastra. This has beenenvisioned and researched into a form of practice named as Marga Natya.Established in 2013, thisinstitution endeavours to build consciousness about theimportance of Guru-Shishya Parampara and seeking self-improvement within all.The importance is given on the contemplative nature of art. The students go through an enriching experience where they aregiven an opportunity to bloomas an artiste and are always involved in the practice of art, whether it is gardening,learning kalamkari painting, searching for ways to naturally dye thecostumes, or designing their own props. The institution endeavours to evolve a wholesome practice of IndianClassical Art to develop thedisciples into artists who can contribute in enrichingof the Indian Heritage.