Shakuntala Concept and costume design
Contents
Research 3 Research: shakuntala 4 Research: time period 5 Indian theatre 6 Rasa theory 7 Design Concept 8 Concept design 11 Groove 12 Location research 13 Mountain 20 Castle 24 Hastinapur research 25 Plan 1:50@a3 28 Section AA 29 Section BB 30 Costume design 41
Research
6| Research: shakuntala
AbhijĂąanashakuntala is a Sanskrit play by Kalidasa, dramatizing the story of Shakuntala told in the epic Mahabharata.
Shakuntala tells the story of King Dushyanta who, while on a hunting trip, meets Shakuntala, the adopted daughter of a sage, and marries her. A mishap befalls them when he is summoned back to court: Shakuntala, pregnant with their child, inadvertently offends a visiting sage and incurs a curse, by which Dushyanta will forget her completely until he sees the ring he has left with her. On her trip to Dushyanta’s court in an advanced state of pregnancy, she loses the ring, and has to come away unrecognized. The ring is found by a fisherman who returns it to Dushyanta, who regains his memory of Shakuntala and sets out to find her. They meet on top of the Hymalaya where Shakuntala raised her boy.
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8| Research: Natyasastra The Natyasastra is a Sanskrit Hindu text on the performing arts. The text is attributed to sage Bharata Muni, and its first complete compilation is dated to between 500 BCE and 500 CE. It is notable as an ancient encyclopedic treatise on the arts,one which has influenced dance, music and literary traditions in India. It is also notable for its aesthetic “Rasa” theory, which asserts that entertainment is a desired effect of performance arts but not the primary goal, and that the primary goal is to transport the individual in the audience into another parallel reality, full of wonder, where he experiences the essence of his own consciousness, and reflects on spiritual and moral questions.
“To understand the technique of representation of the Hindu drama one must remember that it avoided stark realism and gave utmost scope to imagination and fancy. The one unmistakable evidence of this is the total absence of painted scenery from the stage. This is but the negative side of it. If the Hindus avoided bringing in any kind of artificial scenery, they made a positive effort in communicating the meaning of the drama and calling forth the Sentiment (Rasa) in the spectators through suggestive use of colour in the costume and make up (…)” (The Natyasastra, Introduction, p.LVIII)
9| Rasa theory A rasa literally means “juice, essence or taste�.[It also connotes an ancient concept in Indian arts about the aesthetic flavor of any visual, literary or musical work, that evokes an emotion or feeling in the reader or audience, but that cannot be described. Bharata classifies the Rasa under eight categories (ashtarasa) and gives the corresponding Bhava which gives rise to the rasa. These are known as Sthayi Bhava or pervading stable emotion.
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design cONCEPT
12| Colour concept: monochromatic design
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Concept design
Groove
20| Process
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21| Final concept
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Castle
26| Agra fort
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Plan 1:50@a3
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Section AA
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29| Section
Section BB
30| Final concept
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31| Final concept
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33| Final concept
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Mountain
40| Process
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41| Final concept
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costume design
Mountain dress (plain)
Mountain dress (god)
50| Details and jewellery and costume design
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53| Final concept and costume
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55| Final concepts