Theatre and Dance
The Bhagavata cult centred around the worship of Krishna and the related puranas, played a central role in the development of theatre and dance in India, particularly through the tradition of Ras and Leela, which are dramatic enactments of Krishna wooing gopis (cow herding girls), and episodes from his life, respectively. Though this dance-theatre tradition predates the composition of the Harivamsa, Vishnu and Bhagavata Purana, they were significant in its evolution. In particular, many Ras plays dramatise episodes related in the Rasa Panchadhyayi ("Five chapters of the Celestial Dance"; Book 10, chapters 29–33) of Bhagavatam. The purana accords a metaphysical significance to the performances and treats them as religious ritual, which cleanses the hearts of faithful actors and listeners and gains them para bhakti (supreme devotion) towards the Lord. Bhagavatam also encouraged theatrical performance as a means to propagate the faith (BP 11.11.23 and 36, 11.27.35 and 44, etc.), and this led to the emergence of several theatrical forms centred around Krishna all across India.
In Book 10, Bhagavatam describes Krishna dancing the Tandava, a vigorous dance, on the hood of the cobra Kāliyā. This is regarded as the origins of the classical dance style of Kathak, and has influenced other forms including Odissi, Manipuri and Bharatnatyam.
Read more about this topic: Bhagavata Purana
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“If an irreducible distinction between theatre and cinema does exist, it may be this: Theatre is confined to a logical or continuous use of space. Cinema ... has access to an alogical or discontinuous use of space.”
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