Theatre Design & Technology - Winter 1996 - 60

right and only one on the left, hOlrever. suggesting that
then as nOlr, dressing rooms reflected the distinction of
the peIiormers that used them. The single room \ras
probably reserred for the more distinguished players.
Bharata does not prescribe an~1hing for the upper levels, though the mllgasirsa does have side rooms (see
figure 7). However, there is only one room on either
side. The one to the right has two pillars while the one
to the left has three, counting the figured pilasters.
The II/alfammlli on both levels are recessed behind a veranda and hare doors \\'ithin, which lead to the
abore mentioned rooms. Astone can'ed bench. similar
to the one in front of the lIepat/~)'a griba, \\TapS around
the inside of each veranda in front of the doors. It is
note\rorthy that, whether by plan or accident, the
II/alfavamlli also have remarkable resonating qualities
which would add greatly to the overall acoustical effect
of a large musical ensemble surrounding the perf01'
mance space.
Acurious structure, called the sad daruka, is the
final item in the Na~J'asbastm's inventory of component
pal1s for the performance area of a vikrsta type of playhouse. Though it not entirely clear what the term acnlally means, there is little doubt what it is. Atheatrical
term, it could mean six parts of the Devadaru tree or be
an allusion to Krislma's chariot in parts of six, since
daruka is both the name of the sacred tree and the
name of Lord Krishna's charioteer. Or, by dropping the
final ka, it could simply mean "a wooden thing of six
pal1s," daru meaning "wood" and ka being as adjective
making suffix. In any case, it is a fanciful name for a set
of steps with six risers or rungs, located on either side
of the rallga pitba, connecting it to the rallga sirsa,
above. Bharata is not vel1' helpful either as he simply
mentions them in the context of other components:

Mattavarani
on the
stage left
wing of the

rangapitha.

~~~~~~~~

Landing
structure for
the sad druka
or steps
connecting

Tbell olle sbould be COlIstruC/ tbe

two playing

rangapitha alld tbell tbe rangasirsa COII/-

levels.

plete witb sad-daruka accordillg to tbe
prescribed rules. (Bharata, verse 68)

'uf0l1unately, we know nothing about these prescribed
rules.
Made of wood, the steps vanished long ago. However the small cupola-like landings are still in excellent
condition as seen in figure 8. According to Dash, the jog
in the stone steps below (extreme right of picnlre) provide the lower landing while the flat roof serves as the
upper. Certainly the steps were very steep but that is not
unusual for Asian style steps.1O
Adjoining the stage light II/alfavamlli is a special
chamber which Dash said was for the stage manager
who could watch both the audience and performance
through the kubam, or peep hole, seen in figure 9. The
traditional Sanskrit stage manager, or sutradar, played
an active role in performance, appearing on stage with
scripted lines to address the audience. The kubam gave
him a special vantage point from which he could ovel'
see the performance while nol on stage.
Special seats have been cut into the stone in front
58

\\'1 !'ITER

996

TD&T

The kuhara
or stage
manager's
peep hole.
Author's
daughter
Tara peering

at the
camera.

Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 1996