Bharata Muni
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1/ Success [in a dramatic production], arising from Words, Sattva and Gestures, is of two kinds: divine (daivikī) and human (mānuṣī).
2/ Human success manifests in ten different forms, and divine success in two. They are expressed through various Sattvas, conveyed by voice (vāṅmayī) and body (śārīrī).
Signs of human success
3/ A slight smile (smita), a smile (ardhahāsa) and unrestrained laughter (atihāsa), [exclamations] “excellent” (sādhu), “how wonderful” (aho), “how pitiful” (kaṣṭam) and noisy applause —
4/ Joy manifesting in goosebumps, rising from one’s place, distributing garments (celadāna) and casting rings (aṅguli-kṣepa) — such is success among people of discernment.
5/ This is human success when words are pronounced, sattvas are manifested, and gestures are performed.
Signs of divine success
6/ [When during a performance] there is neither noise, nor disturbance, nor any unusual occurrence, and the auditorium is full — this should be known as divine success.
7/ Such success in a performance is determined by discerning spectators, able to appreciate the beautiful in word, gesture, and psychological state.
Three kinds of obstacles (ghāṭa)
8/ Such are the two kinds of success. Now I will speak of the obstacles (ghāta) in [the performance] that destroy its success.
9/ Obstacles are of three kinds: [those arising] from the gods, from [the actors themselves as] the ātman (ātman), and from enemies (para). To these are also added calamities manifested by evil omens.
Interference from the Gods
10/ Wind, fire, a lightning strike, fear caused by animals — all this is called obstacles [coming] from the gods.
Obstacles from enemies
11/ Shouts, threats, throwing stones and logs, destruction of the theatre — all this is called obstacles [coming] from enemies.
Obstacles from bad omens
12/ Earthquake, [appearance of] a comet, thunder without clouds, falling stars, and [heavenly] signs — all this is called obstacles [arising] from calamities.
Interference from the actors themselves
13/ Artificiality [in performance], incorrect movement [of actors], mismatch with the role, loss of memory, uttering someone else’s words, a cry of despair —
14/ Absence of proper hand movements, falling of the crown and other ornaments, errors in drum playing, timidity in speech, excessive laughter and excessive weeping —
15/ Such [defects] are called obstacles [arising] from [the] actors themselves. Now I shall explain how an experienced director should eliminate these obstacles.
Elimination of Obstacles
16/ In the case of [obstacles] from the gods, one should recite prayers and pacifying spells. In the case of [obstacles] from enemies — to stop them by force or by money.
17/ In case of [obstacles] from omens — perform purificatory rites and propitiate the gods. In case of [obstacles] from the actors themselves — act through the art [of theatrical management].
18/ An experienced connoisseur [of theatre] should eliminate all these obstacles at the proper time by means of [appropriate] measures, employing sacrifice, vow, gift, or purification.
Three kinds of spectators
19/ Spectators (prekṣaka) are divided by degree of understanding into three types: the highest, the middle, and the lowest. The highest are those who are versed in the sciences and arts; the middle are acquainted [only] with some of them.
20/ [The lower ones] are those who know only the external and are devoid of understanding of the subtle. But all of them experience pleasure from [a good] performance, although they perceive it differently.
21/ The knowing [person] takes pleasure in knowledge, the ordinary person — in [crudely perceived] objects, while the actor feels joy when he sees that he himself has performed correctly.
22/ Those who are skilled in poetry derive pleasure from poetic merits; those who understand music, from musical merits; thus each rejoices in that in which he is proficient.
23/ Therefore, the director must stage a performance that encompasses [the merits of] all [spheres], for [only then] will it bring pleasure to all kinds of spectators.
Qualities of the ideal spectator
24/ [The ideal spectator is] one who possesses [good] character, high birth, calm demeanor, and learning, who is experienced in the six parts [of the science of] theatre.
25/ [One who] knows what the costume should be, the dialects, the hīnayānic performance, who has mastered grammar, metrics, and the various sciences —
26/ [One who is] familiar with various [stage] techniques, who is endowed with wit (pratibhā) and the capacity for judgment, who feels no attraction toward anything and no aversion to anything —
27/ [One who] makes no hints either in favor [of anyone] or against — only such [a person] is worthy of the name of an expert (prekṣaka).
Ten Assessors
28/ Sacrifices, when [properly] pronounced, should be assessed by the priest; acting skill — by the actor; metrics — by the expert in prosody; grammar — by the grammarian.
29/ [Correspondence] of time, distribution [of roles] and combat techniques — the warrior; painting — the painter; the art of conversation — the courtesan.
30/ Music should be judged by a musician; [the correctness of] rituals — by a court official. Such is the duty of each in a society of connoisseurs.
31/ Those who perform sacrifices know the meaning of each ritual; actors know the rules of performance; experts in prosody know the various meters.
32/ Grammarians value the correct pronunciation of words; warriors value the application of combat techniques (dhanurveda) in [battles] enacted in plays.
33/ Painters see whether the appearance [of the characters] is correctly conveyed; courtesans assess the grace of movements and attire.
34/ Musicians judge the quality of instrumental music and singing; court officials — [the correctness of] ritual protocol.
Time of performances
35/ Virtuous deeds (dharma) are appropriate in the morning hours; deeds [connected] with strength (artha) — in the afternoon; [deeds connected with] erotic grace (kāma) — in the evening; tragic [deeds] — early in the morning.
36/ Drama should not be performed at noon, at midnight, during prayer hours (sandhyā) and [during] meals; it also cannot be interrupted in the middle or left unfinished.
37/ The performance should be enacted in accordance with the nature of the [depicted] events: [a night performance] should be concluded at dawn, and a daytime one — before twilight sets in.
Qualities of the actor
38/ Mind, strength, beauty of body, knowledge of Time and tempo, understanding of Psychological state and Moods [should be indicated here].
39/ [Proper] age, curiosity, assimilation [of knowledge and arts], retention of them in memory, vocal music reinforced by dance, suppression of stage fright, and inspiration —
40/ All of this — qualities that an actor must possess (naṭa), as well as his desire to play [various] roles.
41/ An actor possessing intelligence, beauty of appearance, youth, and experience in the arts is capable of [performing] a multitude of roles.
42/ The one who possesses a [pleasant] voice, a beautiful appearance, knowledge of [various] sciences, charm, and the ability to please becomes a [true] actor.
Qualities of a good performance
43/ [A good performance contains] quality instrumental music, quality songs, quality recitatives (paṭhya), as well as the coordination of all actions prescribed by the Śāstra.
44/ [In it there is] consistency of Psychological States and Moods, correspondence of [stage] space and time, clear Speech and Gestures [of the actors].
45/ [When all these qualities] are brought together [in a performance], it delights both the learned and the ignorant — this [is] true success.
46/ Thus have I set forth the Success and the Obstacles with regard to [theatrical] Performance. In accordance with [these] rules, one should strive for success.