Sutradhar in Bhāōnā: the indispensable catalyst of inner and outer worlds

The ancient Indian dramatic tradition of Natyashastra has been established as one of vedic origin. Bharata subscribes to the goals of life as the four puruśārtha - dharma, artha, kāma and mōkśa. The purpose of Nātya and the concept of puja as per the scriptures is evident in his text,

यथा विधि यथा शास्त्रं यस्तु पूंजा करिष्यति। 

                      स लप्स्यते शुभानर्थान् स्वर्गलोकश्च यास्पति ।। (ना.श-१-१३०)

performed duly in the playhouse with offerings……those who offer puja in accordance with all the prescribed rules of the puja will attain and go to heaven 

This dramatic tradition of Bharata continued and found its place in the regional styles, adapting to the regional taste. Such a style also developed in the northeastern state of Assam, spearheaded by the creative genius of the great polymath, Mahapurush Shrimanta Shankardeva in the 15th Century AD. Here too, the purpose of Nātya remained in the attainment of mōkśa (liberation). In Shankaradeva’s play the Sutradhāra clearly states this,

भो भो सभासदः युयं शृनुत सावधानतः।

 केलि गोपाल नामेदं नाटकं मुक्ति साधकम् ।। 

(from his Kèli Gopal Nāt)

although Shankardeva’s faith laid more importance on bhakti (devotion) than mukti (liberation), his Nātya layered with the spirit of Bhakti had the purpose of Mukti for all - mukti sadhakam. The catch phrase “jaya hari bola, jaya rāma bōlā” is repeated many times by the Sutradhār, who becomes the catalyst in instilling this spirit of devotion in the minds of the sāmājikā. Therefore he becomes the most important character of the Nātya. 

The dramatic presentations were a part of Shankardeva’s religious advocacy when he propounded the Neo-Vaishnava faith of Eka Śarana Hari Nām Dharma based on Śrimad Bhāgavat. The background of the development of this faith was in many ways a cleansing process of the existing corrupt religious systems that crippled the society of the time. One can draw similarity in the origin of the fifth Veda - Natyaveda, which was created by Brahma due to the decadence in the society, to the formulation of a new faith by Shankaradeva due to a similar decadence in the society. Therefore, Shankardeva is revered  as a Mahāpuruś, one who gave direction to the uninitiated, as a social and cultural reformer never seen or heard before, across the length and breadth of Assam and the neighbouring areas too. His contribution to the society is so huge and so effective that any King of the area stands pale next to him. He worked for the people and belonged to the people.

Shankardeva’s inspiration has been the Puranās, mainly Srimad Bhāgavat Purān and also the philosophical thought of Buddhism and Sānkhya. He was highly knowledgeable of the scriptures and he felt that everyone should benefit from this vast knowledge and therefore he made it simple for all and propagated the new faith or Neo-Vaishnava faith, which did away with idol worship. He used the intrinsic thought of the Vedic system which he improvised and simplified in all his writings which includes his drama-s called Nāt or Bhāōna. This way, he played a major role in bringing the masses closer to that which was deprived to them by the “higher classes” of the society, at that time. The two nomenclatures Nāt and Bhāōna are such that, the former refers to the written text and the later refers to the performance of the text. The concept of Sutradhār can be understood through the process of Bhāōana which was conceptualised by Shankardeva in his very first presentation  called  Chihna Jātra. In his biography it is described that seven rasā-s constituted his Nātaka:

Saptarasè nātakaka rasanā karaya

Suniyuka saptavidha rasara anvyaya 

Gāyana bāyana save sabhājaya karè

Sutranātya vidhirē lukara man harè

Panditē bujitē ślōk kōrilō rasanā

Geet artha bujibēka dvija sabhya janā

Brajāvali bhāsākō bujibē grāmilōka

Chō mukha dēkhibēka jatoa ajña lōka

Śuddha bā aśuddha tathā jitu hari nām

Ēhi saptarasē nātakara anupām

Meaning: 

In seven rasā he composed the Nātaka

Listen to the meaning of these seven rasā-s

Gayan-bayan wins over the sabhā (audience)

The ritual of the Sutranātya  captures the minds of the lōka (people/sāmājikā)

For the understanding of the Pandita (the learned section) he composed the ślokā

The meanings of the Geet (songs) will be understood by the educated class

The Brajāvali language will be understood by the simple villagers

The chō-mukha (masks) will be enjoyed by the simple people

Whether it is correct or not, such is the Nām (name) of Hari

These are the excellent seven rasā of Nātaka

(the full article has been already published)