Category:Drama
drama | dramas | dramatic | dramatical | dramatically | dramatist | dramatists | dramatization
Subcategories
This category has the following 8 subcategories, out of 8 total.
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G
K
P
R
Pages in category "Drama"
The following 106 pages are in this category, out of 106 total.
A
- A great dramatist, government officer. He wrote one book, Shah Jahan. That is very famous book for theatrical play. So in that Shah Jahan, means the king emperor Shah Jahan. Practically, the name which is given on the book, the hero title, he's the hero
- A poet who does not know the grammatical regulative principles, who is unfamiliar with metaphorical ornaments, especially those employed in drama, and who does not know how to present the pastimes of Lord Krsna is condemned
- A woman is hankering or seeking after the association of a man, & a man is hankering or seeking for the association of a woman. The fiction novels, dramas, cinema & even ordinary advertisements that you see simply depict the attachment between man & woman
- Acaryaratna was also named Sri Candrasekhara Acarya. In a drama in his house, Lord Caitanya played the goddess of fortune
- All fictions - dramas and novels - and material songs describe love between men and women. Since people are so attracted to this kind of literature, Krsna appeared in this material world and displayed His transcendental loving affairs with the gopis
- All of them (dramatists, dancers, singers, historians, genealogists and public speakers) belonged to a particular caste, and they became so trained in their respective families
- All the Vaisnavas praised the drama, saying, "Very good, very good." They also desired that Sri Caitanya Mahaprabhu hear the drama
- Another gopi expressed her opinion that Krsna and Balarama, while tending the cows, appeared just like actors going to play on a dramatic stage
- Any drama or book written by unauthorized persons should not be indulged in
- Anyone advancing in spiritual knowledge must reject such literature - newspapers, dramas, novels and magazines
- Arjuna said, "In dramatic performances in the theater, an actor may play the part of a king, but no one expects any benefits from such a make-believe king"
D
- Dancers, singers and dramatic artists mostly hailed from the sudra community, whereas the learned historians, genealogists and public speakers hailed from the brahmana community
- Despite the explanation of Svarupa Damodara, Bhagavan Acarya requested, "Please hear the drama once. If you hear it, you can consider whether it is good or bad"
- Dramas are alright if you can perform them nicely. Even if you don't speak them in English, they can be rendered into Hindi on the microphone while the drama goes on. But the puppet shows should be stopped. It is nonsense
- Dramatic performances were enacted during the presence of Sri Caitanya Mahaprabhu, but the players who took part in such dramas were all pure devotees; no outsiders were allowed. The members of ISKCON should follow this example
- Dramatists, dancers, singers, historians, genealogists and public speakers would dwell on the subject of the Lord's superhuman activities in different ages and millenniums, and not on ordinary events. Nor were they in chronological order
E
- Even fifty years ago, the social structure of all Indians was so arranged that they would not read any literature that was not connected with the activities of the Lord. They would not play any drama not connected with the Lord
- Even one hundred years ago in India, all dramatic performances were centered around the superhuman activities of the Supreme Lord
- Expert dramatists, artists, dancers, singers, historians, genealogists and learned speakers all gave their respective contributions, being inspired by the superhuman pastimes of the Lord. Thus they proceeded on and on
- Expert players in drama, dancers, singers, speakers, etc., are required for the spiritual enlightenment of the common man
G
- Generally people are of the opinion that we are all here accidentally and that as soon as these bodies are finished all our dramatic activities will be finished and we will become zero. Such scientists and philosophers are impersonalists and voidists
- Generally these dramas are sentimentalism. Those who are devotees of Chaitanya, they do not discuss much about His renouncing the householder life, but there are certain persons who floodlight the renouncement of Chaitanya in a materialistic way
- Generally, those who are expert in writing drama choose to call Cupid the ideal dhira-lalita, but we can more perfectly find in the personality of Krsna all the characteristics of dhira-lalita
H
- He (Ramananda Raya) engaged two young girls who were professional dancers and singers to demonstrate the ideology of the drama. Such girls, who are called deva-dasis, are still employed in the temple of Jagannatha, where they are called maharis
- His eyes and mind fully absorbed in Lord Jagannatha, Caitanya Mahaprabhu began to play the drama of the song with His two arms
I
- I did not see your drama in New Vrndavana about the advent of Lord Krsna. But I have heard from others that it was done very nicely, so I am very much pleased
- I do not care very much for these plays and dramas unless they are coming directly from the Vedas
- I simply repeat like a parrot whatever instructions You have given me. You are the Supreme Personality of Godhead Himself. Who can understand Your dramatic performances
- I suggest you approach Tamala Krishna Gosvami at our New York branch. (340 W. 55th St., N.Y. 10019, N.Y.) You may go and join them there, they have a dramatic group, and if your ideas can be developed, I have no objection, that will be very nice
- I think it is best if you consult with Prajapati prabhu on these points. He is in charge of the dramas, so take his advice on these matters
- If we play, train our devotees to present some dramatical performances or movie, I think it will be very successful, because they will play from transcendental sentiment, not for trade purpose
- In our childhood we had the occasion of taking part in a drama, Caitanya-lila. I took the part of Advaita, and our friends, others, somebody took the part of Caitanya, Nityananda. So that drama was so successful, it was unique in Calcutta
- In the course of the narration, I have also told about the drama by the poet from Bengal. Although he was ignorant, because of his faith and humility he nevertheless obtained shelter at the lotus feet of Sri Caitanya Mahaprabhu
- In the dramas performed by Lord Caitanya Mahaprabhu, Haridasa Thakura played the part of a police chief. While chanting the Hare Krsna maha-mantra in Benapola, he was personally tested by Mayadevi herself
- In this way Sri Caitanya Mahaprabhu always expressed bewilderment and lamented in separation from Krsna. At such times He used to recite the slokas from Ramananda Raya's drama, known as Jagannatha-vallabha-nataka
- It appears that five thousand years ago the society also needed the services of the dramatists, artists, dancers, singers, historians, genealogists, public speakers, etc
K
- Krsna could immediately understand that Brahma had taken away both the calves and the boys, but as an innocent child He searched here and there so that Brahma could not understand Krsna's maya. This was all a dramatic performance
- Krsna is within yourself, and Krsna is without. But we do not see Krsna. The example is, nato natyadharo yatha (SB 1.8.19). Nata, a dramatic player, is dancing on the stage, and his son or relative seeing, he cannot understand
- Krsna's name is Natavara. Natavara means the greatest dramatic dancer. And another His name is nato natyadharo yatha (SB 1.8.19). He is dancing in such a nice way that He is attracting everyone
M
- Maharaja Prataparudra was as powerful as King Indra. The drama named Caitanya-candrodaya was written under his direction
- Men have inclinations for studying history & many other mundane literatures: stories, fiction, dramas, magazines, newspapers etc so let them be dovetailed with the transcendental service of God & all of them will turn to the topics relished by devotees
- My idea is, Sankirtana with some dramatic demonstration, by the members, will be attractive to the people in general
R
- Ramananda Raya directed the two girls how to dance and express the deep meaning of his songs through dramatic performances
- Ramananda Raya was personally giving instructions on how to sing and dance for the drama
- Regarding the dramas, my point is not to deviate from gravity and compromise or distract from the situation
S
- She said, "Write a separate drama about me. By my mercy it will be extraordinarily beautiful"
- Sometimes an actor in a drama plays the part of Narada Muni, although in his private life he is not at all like Narada Muni because he is not a devotee. Such actors are not needed in dramatic performances about the lives of Sri Caitanya and Lord Krsna
- Sometimes people go to see professional dramas and offer food and money to the players, who are expert at collecting these offerings very nicely
- Sri Caitanya Mahaprabhu used to perform dramas with Advaita Prabhu, Srivasa Thakura and other devotees in the house of Candrasekhara. The place where Candrasekhara’s house was situated is now known as Vrajapattana
- Sri Madhava Ghosa performed a drama known as Dana-khanda with the help of Sri Nityananda Prabhu and Sri Gadadhara dasa. This is explained in the Caitanya-bhagavata - Antya 5.318-94
- Srila Bhaktivinoda Thakura writes in his Amrta-pravaha-bhasya: Srila Ramananda Raya composed a drama named Jagannatha-vallabha-nataka
- Srila Gadadhara dasa was always fully absorbed in ecstasy as a gopi. In his house Lord Nityananda enacted the drama Dana-keli
- Such literature, including newspapers, dramas, novels and magazines, is factually not meant for advancement in spiritual knowledge. Indeed, it has been described as a place of enjoyment for crows - tad vayasam tirtham
- Svarupa Damodara pointed out the drama’s (written by Bhagavan Acarya's friend) many mistakes & its disagreements with the conclusion of DS, & the author became aware of the faults in his writing & then surrendered to Svarupa Damodara, begging his mercy
- Svarupa Damodara replied for Srila Rupa Gosvami, "He wanted to compose a drama about the pastimes of Lord Krsna. He planned to describe in one book both the pastimes of Vrndavana and those of Dvaraka and Mathura"
- Svarupa Damodara, the Lord’s (Caitanya's) secretary, did not allow him (Bhagavan Acarya) to do so - he wanted to recite a drama before Lord Caitanya Mahaprabhu which was against the principles of devotional service written by his friend of Bengal
T
- That chapter also describes how Svarupa Damodara Gosvami rejected the drama of a poet from Bengal and established the glories of the Deity
- That was the first and last of playing in dramatic drama in my life
- The common people would be verily entertained by the performances of dramas, and yatra parties played wonderfully on the superhuman activities of the Lord
- The conditioned soul has a natural aptitude to hear something about other conditioned souls in the form of fiction, drama and novel. That inclination to hear something about others may be utilized in hearing the pastimes of the Lord
- The demigods who always travel in outer space gave King Prthu the arts to perform dramas, sing songs, play musical instruments and disappear at his will. The great sages also offered him infallible blessings. The ocean offered him a conchshell
- The drama being rehearsed by Ramananda Raya and the two young girls was the well-known Jagannatha-vallabha-nataka. The songs and dances were meant for the pleasure of Lord Jagannatha
- The dramatic actor Madana-mohana has opened a shop of scents that attract the women of the world to be His customers. He delivers the scents freely, but they make the women all so blind they cannot find the path returning home
- The dramatic actors would then play their parts, and the dancing ballet girls would separately display their artistic movements
- The fifth part (of this drama the Vidagdha-madhava) radha-prasadana, the sixth part sarad-vihara, and the seventh and last part gauri-vihara
- The first part of this drama (the Vidagdha-madhava) is called venu-nada-vilasa, the second part manmatha-lekha, the third part radha-sanga, the fourth part venu-harana
- The ignorant person may even be a scientist or physiologist in the drama of prakrti, while the sane person knows prakrti as the illusory energy of the Lord
- The inhabitants of Gandharvaloka prayed: Your Lordship, we ever engage in Your service by dancing and singing in dramatic performances, but this Hiranyakasipu, by the influence of his bodily strength and valor, brought us under his subjugation
- The Lalita-madhava is a description of Krsna's pastimes in Dvaraka. These pastimes were made into a drama, and the work was finished in the year 1459 Sakabda
- The Lalita-madhava is a description of Krsna’s pastimes in Dvaraka. These pastimes were made into a drama, and the work was finished in the year 1459 Sakabda
- The ninth (part of the Lalita-madhava deals) with looking over pictures, and the tenth with complete satisfaction of the mind. Thus the entire drama is divided into ten parts
- The ninth part (of Lalita-madhava) deals with looking over pictures, and the tenth with complete satisfaction of the mind. Thus the entire drama is divided into ten parts
- The purpose of Krsna’s appearance was to stage a dramatic performance of transcendental pastimes at Vrajabhumi, thus exhibiting the highest limit of transcendental mellow in the exchanges of reciprocal love between the living entity & the Supreme Lord
- The result (of hearing Bhagavatam from Mayavadi sannyasi and seeing professional dramas) is that the members of the audience remain in the same position of grham andha-kupam, family affection, and do not awaken their love for Krsna
- The standard for writing dramas has been set by Rupa Gosvami. If a devotee hears the introductory portions of his two dramas, they enhance his transcendental pleasure
- The technical names for the five kinds of introductory scenes of the drama are listed as udghatyaka, kathodghata, prayogatisaya, pravartaka and avalagita
- The vithi beginning of a drama consists of only one scene. In that scene, one of the heroes enters the stage, and by means of opposing statements uttered by a voice from the sky (offstage), he introduces the abundant conjugal mellow to some degree
- The waves carried Him here and there like a piece of dry wood. Who can understand this dramatic performance by Sri Caitanya Mahaprabhu
- They (Bhima and Jarasandha) were both expert fighters with clubs, and their techniques of striking each other were so beautiful that they appeared to be two dramatic artists dancing on a stage
- They (Krsna and Balarama) learned how to dance to the rhythm of melody and different songs. They learned how to write dramas, and They learned the various types of painting, from simple village arts up to the highest perfectional stage
- They (Krsna and Balarama) learned how to set up a theatrical stage, how to decorate dramatic actors with costumes and with flower ornaments over the ear, and how to sprinkle sandalwood pulp and water to produce a nice fragrance
- They (Krsna and Balarama) were beautifully dressed, and They were attractive to all the people assembled there. They were dressed as if They were going to act on a dramatic stage, and They drew the attention of all people
- They are not fit for advancing in devotional service, or Krsna consciousness. Such materialistic persons are interested in newspaper stories, novels and imaginary dramas
- This introduction is technically called udghatyaka, and the whole scene is called vithi. You are so expert in dramatic expression that each of my statements before you is like a wave from an ocean of impudence
- This is stated in the dramatic literatures as "perfect," "more perfect" and "most perfect." Thus Lord Krsna manifests Himself in three ways - perfect, more perfect and most perfect
- This Prahlada-caritra play, drama, is very instructive. Although it is not played on a very nice stage, theatrical, but the feeling expressed by the devotees in playing this Prahlada-caritra has become very successful
W
- We are all simply living entities playing on a stage in the dress of father, mother, children, friend, enemy, sinner and saint, etc. It is like a great drama with so many characters playing their parts
- When Caitanya was dramatically enacting the song, He would sometimes fall behind in the procession. At such times, Lord Jagannatha would come to a standstill. When Caitanya Mahaprabhu again went forward, Lord Jagannatha's car would slowly start again
- When Lord Caitanya Mahaprabhu played in dramatic performances in the house of Srivasa Pandita, Vakresvara Pandita was one of the chief dancers, and he danced continuously for that length of time - seventy-two continuous hours
- When Sri Caitanya Mahaprabhu's secretary, Svarupa Damodara Gosvami, heard the drama, he discerned a tinge of Mayavada philosophy and pointed it out to the author
- When Sri Caitanya read the verses of Jayadeva's Gita-govinda, of Srimad-Bhagavatam, of Ramananda Raya's drama Jagannatha-vallabha-nataka, and of Bilvamangala Thakura's Krsna-karnamrta, He was overwhelmed by the various ecstatic emotions of those verses
- When Srila Ramananda Raya inquired about the arrangement for introducing the assembly of players in the drama, Rupa Gosvami replied that when the players first enter the stage in response to the time, the introduction is technically called pravartaka
- Whenever there is a recitation of poetry or a dramatic play on the different pastimes of Krsna, the audience develops different kinds of transcendental loving service for the Lord. They enjoy different types of vibhava, anubhava and sancari-bhava
- Whenever they (members of ISKCON) stage dramatic performances about the lives of Sri Caitanya Mahaprabhu or Lord Krsna, the players must be pure devotees
- While Akrura was offering his prayers to the Supreme Personality of Godhead, the Lord disappeared from the water, exactly as an expert dramatic actor changes his dress and assumes his original feature