b'Storytelling in Ghanaian Concert Party and Sanskrit Theatre respective cultures, and the contrasting aspectsformance, gestures of the body, costume, makeup, that each society prioritises. playwriting and more in its 36 chapters. As per Jithya Wijesinghe the guidance from the Natyashastra, actors would Most of Sanskrit theatre is regarded as ritual- follow a meticulous training routine including Jithya Wijesinghe surveys two distinct theatrical traditions, one ancient and one more modern, and explores how storytellingised performances, as performance is regardeddiet, and exercise to help them prepare for the functions in each of them. What elements of theatrical storytelling are alike across time and space? as visual sacrifice in honour of the deity (Rich- emotional expression, hand and body gestures, mond, 1985). In Kiyam, Richmond explains,rhythm and costumes needed in final performanc-Despite being such a fundamental aspect of muchto their audience. The translation of Bhava isa pre-performance ritual involves lighting a lamp,es (Nellhaus, 2016: 84). This difference in prepa-theatre, storytelling varies greatly from culturefeeling and is embodied within the performer,applying its oil onto the actors face and thenration for performances reiterates the different to culture. In this essay, I will explore Ghanaianwhilst rasa is the essence of something and istying a red cloth around their forehead. Thisways theatre is regarded in these two cultures. concert party and Sanskrit theatre, highlightingfelt by the audience. The interpretation offereddenotes the destruction of the actors personalityGhanaian culture takes a more casual approach the distinctive aspects of these traditions. Consid- by Podstawska is that the actor will feel emotions(which is the sacrifice the actor makes for theirbecause performances are solely for entertainment ering costumes, staging, and storytelling, I willexperienced by their character as they express theGods) and his preparation of taking on the rolepurposes whereas Sanskrit theatre performances evaluate the relevance of theatre in each culturestory through bhava. The audience will then watchof his character, therefore showing his transitionwere regarded as sacred. and how it has impacted on their respective soci- the dancer and their emotions, empathising withbetween two worlds whereby he is neither himself eties. them, which will evoke sentiment, or rasa, in thenor his character. Only after this ritual can theIn both cultures, there is an importance placed audience (Sen-Podstowska, 2021). Rasa-bhava isactor put on his makeup, remaining as his char- on makeup and costume; however, the ways in The origin of the stories developed by these twoexplained in the Natyshastra, and performers aimacter until the entire performance, lasting severalwhich they use them for performance differs sig-forms of theatre differ significantly. Sanskritto evoke this rasa in the audience. Therefore, Idays, is over, and he can remove the red clothnificantly. In Ghanaian concert party, the actors theatre mainly takes inspiration from ancientwould argue that rasa-bhava is ultimately theand return to the mortal world. Performance was(who were male, historically), would dress up religious texts such as the Ramayana and Mahab- foundation of Sanskrit theatre, enhancing thesacred in India, therefore was treated with muchas their stock characters: the Lady was adorned harata, religious Hindu epics containing moral les- performance and leaving the audience in a staterespect, especially considering its often directwith jewellery, gloves, a purse, a European-style sons. Contrastingly, Ghanaian theatre sometimesof bliss (Nellhaus, 2016: 89). connections to religion. As a result, actors anddress and lipstick, representing white feminini-generates its stories from folklore from the Akandancers held a high place in society before coloni- ty (Cole, 2001, p. 128); the Gentlemans makeup (an ethnic subgroup in Ghana) revolving aroundSanskrit theatre performances were usually stagedal rule. Alternatively, Ghanian Concert party doeswould be similar to blackface and was much more Ananse, a spider trickster who is cunning andin uniquely constructed temples as part of re- not prioritise religion. Though their stories doexaggerated. The costume of these characters was deceptive. David Donkor explains that Ananse isligious festivals, and in Kiyam this sacredfeature morals, they use the framework provideddirectly linked to their roles, as the Gentleman a farmer in a human village, and therefore sharesstructure would be called the kuttampalam (Nell- in everyday life, whereas Sanskrit drama (specifi- served as a source of ridicule and was presented the same normal, daily obstacles and ambitionshaus, 2016: 86) which is symbolic of the heavencally the Natakas, heroic plays) use the supernatu- in a very grotesque way, and the Lady was an Af-that humans have (Donkor, 2016: 60-83), whichin which Hindu Gods live. Richmond states thatral world and mythology of their deities to expressrican woman who performed British femininity. is a stark contrast to the characters in Sanskritthe square stage of the Kiyam theatre build- morals in their stories. Concert party coveredCatherine Coles words show us that these char-theatre who live in a supernatural world anding is a microcosm of the universe (Richmond,topics that were relatable to all social classes,acters were closely intertwined and inspired by face cosmic conflict and situations which mortals1985: 54), depicting clearly how the stage is sacredincluding unemployment, inheritance, marital is- the British colonialists and reinforces the notion would not have.and treated with religious respect as it unfoldssues, mocking both traditional and modern urbanthat Concert party had evolved from colonialism. the stories of deities and beings that Hinduismlifestyles, meaning people of all classes were usedI would interpret the presence of the Gentleman Ghanian Concert Party once followed afollowers pray to. There are also intricate paint- as the basis for entertainment. Catherine Colecharacter and his use of blackface to highlight three-character format: the lady, the gentlemanings and carvings of Gods on the ceiling, withquotes one of her sources: Scripts are believed tothe gap between who he was and what he was try-and the houseboy. One of the characters, Bob,Brahma (the creator of the universe) at its cen- reduce an actors freedom to make additions anding to be (Cole, 2001, p. 128) as a way of taking would usually be modelled after Ananse. A sim- tre, considered to be protecting the stage fromsubtractions here and there to suit the taste of theback the colonial influence from the British and ilar character can be found in Sanskrit theatreany interruption during the performance. Thisaudience (2001: 115), which shows that actorsmaking it their own through theatre.called the Vidushaka, a clown jester who chases anis vastly different from Ghanaian Concert Partyprioritise improvisation and it is a pertinent skill, amusing life, creating conflict between deities andstages, which are more makeshift: they wouldespecially in the travelling troupes, as it allowsSanskrit theatre uses chalk as makeup to com-generally serves the purpose of making the audi- simply have a white cloth hung up at the back ofthem to tailor their stories to each audience andpletely transform the actors into otherworldly ence laugh (Bhat, 1959), much like Ananse does.the stage and sometimes the actors would line upmake it more relatable to them. beings. There was a range of vibrant colours used: This comparison shows that, despite these twoalong the stage with microphone stands in frontblack for evil characters; golden hues for wom-cultures being centuries apart and having equallyof them. This type of staging is less realistic andSanskrit theatre, on the other hand, aims to edu- en and gentle and graceful characters; red and distinct stories to tell, certain aspects of perfor- more contemporary, which benefits the actorscate and serve as a medium between the humangreen was used for heroes and characters with mance, like comic relief, are consistently vital toas they travel between villages and venues, thusand supernatural worlds, making it much moreadmirable qualities (V.R., 2013, p. 318). They used a story. an improvised stage would be more convenient.meticulous in its storytelling than Ghanaianrice powder, bamboo, flower and other plants to Concert party lacks the religious significance ofconcert party. It features the Natyashastra, one ofmake intricate designs on their face which would Discussing storytelling within Sanskrit theatrethe stage which Kiyam has, whilst the latterthe five sacred books (Vedas) of Hinduism, as theoften take up to four hours to complete before cannot be done without reference to rasa-bhava,lacks easily manipulated staging. This differencefoundation of each performance, containing a de- their performance. Makeup is a key aspect of as it plays a vital role in how the actors performdemonstrates how theatre is treated within thetailed guide on how to worship Gods before per- storytelling, as the colours reflect the qualities 50 51'