Chapter 2: One Stage, Many Scripts
Scripts, the ten Dasharupaka forms of the Natyashastra, and genres — how a story is shaped before it reaches the stage.
Original notes — ready CBSE (NCERT, English Medium) • Class 8 • Arts • Book: Kriti
Chapter 2: One Stage, Many Scripts — EG's own notes, in simple words
Book: Kriti (CBSE, Class 8) | Chapter 2 | Section: Theatre | Medium: English
Diagram (labels are printed on the image): A script page showing dialogue lines and bracketed stage instructions side by side — the written plan every performance follows.
A young writer shaping a script, choosing its form, acts and genre before rehearsals begin.
What the chapter is about
The most fundamental aspect of any performance is the script. Writing ideas down on paper lets them be developed further — a teacher or mentor merely talking about a concept is not enough, which is why this textbook itself is written. This chapter studies scripts for the stage: their types, the ten classical forms of the Dasharupaka from the Natyashastra, and genres.
Scripts can be classified in several ways. One-act plays are short dramatic works, typically 10–30 minutes, focusing on a single dominant situation or conflict within one act. Two-act plays have a climactic midpoint where the stakes rise or the hero's goal changes. The three-act structure, common in films and television, is divided into setup, confrontation and resolution. Plots can also be linear, cyclical or non-linear, using flashbacks and non-chronological storytelling. An adapted script is based on pre-existing material such as novels, books, poetry, short stories or historical events.
Dasharupaka — the ten forms of the Natyashastra
The Natyashastra describes ten rupakas. Nataka has 5 to 10 acts based on stories of kings or divine beings, with love, heroism or pathos. Prakarana has up to 10 acts with an entirely invented plot based on society. Bhana is a one-act play with an invented plot based on rogues and heroism. Prahasana is a one-act, comical play based on humour and happy contexts. Dima has four acts based on a popular story involving Devas and Asuras. Vyayoga is a one-act play based on traditional heroic stories that are non-comical. Samavakara has 3–4 acts based on traditional stories of Devas and Asuras. Anka (Utsrishtanka) is a one-act play composed primarily in karuna rasa. Ihamrga is a four-act play mixing popular stories and fiction from pauranik stories. Veethi is a one-act play with just 2–3 characters that can be performed at any location.
Activity 2.1, 'Script your style!', invites students to experiment with these forms themselves — writers have experimented with forms over centuries, and now the class does the same.
Genres
Genre means a type or style of art, music, literature or film with distinctive features — the Oxford English Dictionary definition quoted in the chapter. Works are categorised by features of style and content. Tragedy focuses on serious themes, often a flawed hero brought down by fate, personal mistakes or social forces. Comedy entertains with humorous dialogue, misunderstandings, exaggeration and a happy ending. Melodrama emphasises exaggerated emotions, moral conflicts and a clear divide between heroes and villains. Historical drama dramatises real events and figures. Musical tells a story through songs, rhymed dialogue and dance. Mystery centres on solving a puzzle, usually a crime, with the answer hidden till the end. Experimental work breaks storytelling norms with unconventional structures, abstract themes and surreal elements. Fantasy uses magical elements in imaginary worlds. The chapter notes that books and records document more than 300 genres — these are only broad examples.
More than 300 genres have been documented — the eight in this chapter are broad families that can hold most works of literature.
Form (one-act, Nataka, Veethi) is the shape and length of the script. Genre (tragedy, comedy, mystery) is the kind of story and feeling it carries. One script has both.
Key Terms
- Script — The written text of a performance — dialogue plus instructions — that lets ideas be developed and rehearsed.
- One-act play — A short play, typically 10–30 minutes, built around a single dominant situation or conflict.
- Three-act structure — Setup, confrontation and resolution — the common plot shape of films and television.
- Adapted script — A script based on pre-existing material such as a novel, poem, short story or historical event.
- Dasharupaka — The ten dramatic forms described in the Natyashastra, from Nataka to Veethi.
- Genre — A category of works sharing distinctive features of style and content, such as tragedy or mystery.
- Non-linear plot — A plot told out of chronological order, for example through flashbacks.
Remember
- A script is fundamental: writing ideas down lets them grow beyond talk.
- One-act = 10–30 minutes, one situation; two-act = climactic midpoint; three-act = setup, confrontation, resolution.
- Dasharupaka: Nataka (5–10 acts, kings/divine), Prakarana (invented, society), Bhana, Prahasana, Dima, Vyayoga, Samavakara, Anka, Ihamrga, Veethi (2–3 characters).
- Genres: tragedy, comedy, melodrama, historical drama, musical, mystery, experimental, fantasy.
- Form is the shape; genre is the kind of story.
Exam Tip / Common Mistake
Common mistake: calling every funny play a comedy and every sad play a tragedy without checking the features. Comedy needs humorous dialogue and a happy ending; tragedy needs a serious theme and a hero's downfall.
Chart / Table: Dasharupaka at a glance
| Point | Detail |
|---|---|
| Nataka | 5–10 acts; kings or divine beings; love, heroism, pathos |
| Prakarana | Up to 10 acts; invented plot; society |
| Bhana / Prahasana | One act; rogues and heroism / humour, comical |
| Dima / Samavakara | 4 acts / 3–4 acts; Devas and Asuras |
| Vyayoga | One act; traditional heroic stories, non-comical |
| Anka (Utsrishtanka) | One act; mainly karuna rasa |
| Ihamrga | 4 acts; popular stories mixed with fiction, pauranik |
| Veethi | One act; only 2–3 characters; any location |
Practice set — try it yourself
- Why is writing a script better than only talking about an idea?
Hint: Written ideas can be developed, changed and rehearsed. - A play lasts 20 minutes and has one big conflict. Which form is it?
Hint: One-act play. - Which Dasharupaka form has only 2–3 characters?
Hint: Veethi. - Name the three parts of the three-act structure.
Hint: Setup, confrontation, resolution. - Is a film based on a novel an original or an adapted script? Why?
Hint: Adapted — it is based on pre-existing material.
Questions with Answers
- Why is the script called the most fundamental aspect of a performance?
Because ideas must be written down to be developed further. Talk alone cannot hold a full play; the script is the plan every actor, director and designer works from. - How do one-act, two-act and three-act plays differ?
A one-act play (10–30 minutes) focuses on one dominant situation; a two-act play has a climactic midpoint where stakes rise or the hero's goal changes; a three-act structure divides the story into setup, confrontation and resolution. - Name four Dasharupaka forms and one feature of each.
Nataka: 5–10 acts about kings or divine beings. Prakarana: invented plot about society. Prahasana: one-act comedy. Veethi: one act with only 2–3 characters, playable anywhere. - What is a genre, and how is tragedy different from melodrama?
A genre is a category of works sharing distinctive style and content features. Tragedy treats serious themes and a flawed hero's downfall; melodrama exaggerates emotions and moral conflict with clearly divided heroes and villains. - What is a non-linear plot? Give an example of how it could be used.
A plot told out of chronological order, for example opening with a grown-up hero and then flashing back to childhood to explain a choice — the same story, reordered for effect.
Extension questions — go deeper
- Write a one-line idea for a Veethi play. Why does the 2–3 character limit suit it?
For example, two friends arguing over a lost ticket at a bus stop — few characters keep the focus tight and the play performable anywhere, even a classroom corner. - A script has 8 acts about a king and a divine sage, full of heroism. Which Dasharupaka form fits best, and why not Prakarana?
Nataka — 5–10 acts about kings or divine beings. Prakarana needs an invented plot about ordinary society, not kings and divine beings. - Classify: a musical about a historical queen that ends happily. Which genre labels apply, and can a work belong to two genres?
Historical drama and musical — and comedy if the ending is happy. Yes, works can combine genres; the chapter's genres are broad families, not sealed boxes. - Why might a writer choose an adapted script instead of writing from scratch?
A known novel or historical event already gives characters, plot and audience interest; the writer's craft goes into reshaping it for the stage. - Activity 2.1 asks you to 'script your style'. Outline a one-act play in any Dasharupaka form, naming its form, characters and single conflict.
Any well-formed answer works if it names the form correctly — for example a Prahasana in which a boastful cook's tall claims collapse at a village feast.
- Script = the written foundation of performance.
- One-act / two-act / three-act differences.
- All ten Dasharupaka forms with act counts.
- Eight genres and their features.
- Form vs genre — never mix them up.
How to use this page: Read the summary, say the Key Terms in your own words, then try the practice set without looking. Use the Questions with Answers to check yourself afterwards. Ask your teacher or parent to check your answers.