Sanskrit Poetry is traditionally divided into two types, viz. that which is capable of being presented on board and that which is capable of being read out and heard. The first type springs from the role played by visual effect in appreciation of a specimen of Poetic Art and is called Drama . Sanskrit Dramaturgy is required to analyse in details the plot and its divisions in a drama and the different stages in its development. It is also required to analyse the different techniques of acting, that are to be employed for presentation of different types of plays, projecting diverse pre-dominant emotional moods.Sanskrit Dramaturgy has been considered as an essential component of Sanskrit Poetics, because, while Sanskrit Poetics in general has tried to emphasise the process of Aesthetic Experience presented through the medium of Poetry in general, Sanskrit Dramaturgy has attempted to expound the process when presented through the medium of Drama, where apart from the music of sound and sense, the visual effect makes itself felt to a great extent. Though much been said of Sanskrit Poetics through the medium of English and the concepts projected by Sanskrit Poetics have been made known to the Western world through the efforts of P.V. Kane, S.K. De, V. Raghavan, and such other stalwarts, the area of Sanskrit 'Dramaturgy has remained in the cool shade of neglect for a pretty long time and sufficient number of serious attempts have not been made to project these concepts and to trace the similarity and distinction between the concepts presented by Indian Dramaturgy and those by Western Dramaturgy, available in the works of Aristotle and Butcher. The author has chosen a comprehensive analysis of Sanskrit Dramaturgy as the subject matter of the present work and has presented all the concept tackled by numerous writers on Indian Dramaturgy. His deep penetration into all the original texts dealing with Indian Dramaturgy and Western Dramaturgy has helped him in making this comparative analysis as clear as possible.

A Major Activity Of The Sahitya Akademi Is The Preparation Of An Encyclopaedia Of Indian Literature. The Venture, Covering Twenty-Two Languages Of India, Is The First Of Its Kind. Written In English, The Encyclopaedia Gives A Comprehensive Idea Of The Growth And Development Of Indian Literature. The Entries On Authors, Books And General Topics Have Been Tabulated By The Concerned Advisory Boards And Finalised By A Steering Committee. Hundreds Of Writers All Over The Country Contributed Articles On Various Topics. The Encyclopaedia, Planned As A Six-Volume Project, Has Been Brought Out. The Sahitya Akademi Embarked Upon This Project In Right Earnest In 1984. The Efforts Of The Highly Skilled And Professional Editorial Staff Started Showing Results And The First Volume Was Brought Out In 1987. The Second Volume Was Brought Out In 1988, The Third In 1989, The Fourth In 1991, The Fifth In 1992, And The Sixth Volume In 1994. All The Six Volumes Together Include Approximately 7500 Entries On Various Topics, Literary Trends And Movements, Eminent Authors And Significant Works. The First Three Volume Were Edited By Prof. Amaresh Datta, Fourth And Fifth Volume By Mohan Lal And Sixth Volume By Shri K.C.Dutt.

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and comprehensive systematic synthesis. All the older traditions need to

The 'Playworld of Sanskrit Drama' is the 'poetic universe' (kavyasam) posited by Anandavardhana and other poeticians. Each of the seven plays studied here - works of Bhasa, Kalidasa, Sudraka, and Visakhadatta- provides us with a different angle of approach to the crucial issues of kavya, and their fundamental ambivalence, which cannot be understood or even delineated by the conventional approach to Indian aesthetics.