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rasa - ANS This is a term used in Sanskrit theater (100-900CE) which defines as a
cumulative result of stimulus, involuntary reaction, and voluntary reaction. It asks the question of
how enjoyment of theater comes, and focuses on the reaction of spectators. Different kinds
include erotic, comic, heroic, marvelous, furious, compassion, odious, and terrible. Sakuntala is
an erotic play.
bhava - ANS This is a term used in Sanskrit theater (100-900CE) which shows how rasas
are generated. They serve as the action that causes or produces the feelings of the rasa
through actors state of being and doing. Different kinds include pleasure, laughter, courage,
wonder, anger, sorrow/pain, disgust, and fear. Sakuntala is an erotic play, meaning that it
produces pleasure.
kutiyattam - ANS This is a term used 900CE which translates to "combined acting." This
way of acting broke off from Sanskrit theater and uses the drama from Sanskrit with added
traditional elements, gestures, and music.
mudra - ANS This is a term used in Sanskrit theater (100-900CE) which refers to the
traditional hand gesture or body movement which refers to something specific, such as traveling
or death. There are many mudras in Sakuntala, such as gazing or approaching nature, which
provide another layer to understanding the character's actions.
shite - ANS This is a term derived from Noh Drama (14th century) that refers to the
primary character in a play. This character is masked and sets the plot in the play. For example,
the shite in Atsumori is Atsumori himself.
waki - ANS This is a term derived from Noh Drama (14th century) that refers to the
"listener" of the story that learns from the shite. This character can also serve as a companion to
the shite. For example, the waki in Atsumori is Kumagai, who learns from Atsumori.
hashigakari - ANS This is a term derived from Noh Drama (14th century) used to describe
the bridge which the performers make their entrance from the dressing area. This allows the
actors to transform into their role, giving the bridge a spiritual sense. It is surrounded by pine
trees, which reference the mythical origins of Noh.
yugen - ANS This is a term derived from Noh Drama (14th century) that defines as a
quiet, mysterious beauty tinged with sadness. It emerges from the performer, arises awareness
, to the world, and acknowledges the timeless spirit and cycle of life. An example of this is
Zeami's description of the flower as a metaphor, which begins as a seed, takes years to
develop, and blooms through all seasons. An actor's task is to show this blooming through the
eyes of the spectator.
kyogen - ANS This is a term derived from Noh Drama (14th century) that translates
directly to "crazy words," and refers to comic interludes in Noh plays. These are made of
higher-poetic language, and are typically about servants comedically tricking their masters. An
example of this is the clip of the two old men finding ways to drink alcohol after being tied up for
drinking by their master.
Quem Quaeritis trope - ANS This is a term from Medieval Theater (10th century) which
directly translates to "Whom do you seek?" It is a brief dramatized section of the medieval
church's Easter liturgy which then influenced religious and ritualistic aspects to medieval drama.
This allows people to understand what is going on in the Bible even when not translated.
mansions - ANS This is a term from Medieval Theater (10th century) that refers to the
little houses and stages built in the church structure where performances take place. These are
practically acting stations that represent biblical settings, and spectators would move through
the church to experience the entire narrative.
platea - ANS This is a term from Medieval Theater (10th century) that refers to the neutral
acting area of the stage. These were the open spaces in front of the mansions where the action
took place, making the mansions serve to "set the scene." This also created an engagement
between the audience and the actors.
pageant wagons - ANS This is a term derived from theater in the Middle Ages (14th
century) which referred to the moving stages used for performance throughout Catholic Europe.
Actors would perform their own stories across the city, thus making the audience's familiar
landscape the performance's backdrop, and furthermore, intertwining this with one's civic and
religious duties learned from the plays. This also allowed staging of levels, heaven, Earth, and
hell, to provide an entire history of the world.
mystery plays - ANS This is a form of religious drama derived from theater in the Middle
Ages (14th century). It was constructed by trade guilds within the city, who each took on their
own particular episodes. For example, a baker would perform a rendition of The Last Supper.
These were typically short dramas based on biblical history that combined religious, civic, and
commercial celebration, and were staged around the city in different stations.
morality plays - ANS This is a religious drama derived from theater in the Middle Ages
(15th century) which focused on the everyday life of a regular, well-practiced Christian.
Performers of morality plays were traveling, professional actors. These plays were secular,
meaning they moved further away from strict biblical narratives. An example of this is the play
Everyman.
