Philosophy of Acting

At the time of his passing, Bharat Gopy had already started off on his next book project, a natural succession to Nataka Niyogam, tentatively titled “The Philosophy of Acting.” The following introductory draft of the project, more like a “road map to himself” was found among the other manuscripts of his creative outings. – Ed Team
Philosophy of Acting - Bharat GopyThe world is governed and run by not a physiological or physical manifesto but by a spiritual and practice oriented philosophy. Off-shoots of  this philosophy, like many other faculties include performances on stage and off-stage. The on stage activity is “Acting”, a versatile expression of human nature and life. Such being the definition, acting becomes invariably philosophic.
This book is intended to delve deep into the intricacies and expressions of philosophy of life  ; as to how it is implemented in the ways and means of performances of an actor and how the goal of reaching the minds of audiences is achieved.
Acting began right from the beginning of human life, starting from the Stone Age to the extreme sophistications of the present century. A lot has been written  and spoken about acting theories but a book on the philosophical aspect of the creative divinity is yet to be brought to the aesthetic minds of the audience. My effort is to fulfill this need.
Literature and related texts have to be researched and compiled. The effort has to go even to the anthropological studies and facts with reference to myths and rituals of the country.This requires a journey through the various methods and expressions of artistic thoughts and practices. Invariably, this would call for methodical and sincere inquiries along with learning so as to reach a conclusive finale to this journey.
This book of knowledge will travel through the history of acting, principles and Structure of theatre ( as designed by the Maharishi Bharatha in his Natya Shastra ), through the methods and thoughts of various renowned personalities of Performing Arts invariably touching upon their inner motivations.
I hope my humble effort  in this line will emerge fruitful, if positive and unstinted support is attached and expressed. The language used is Malayalam, being more “viable” to my pen than any other language.

The book will contain 18 chapters as detailed below.


  1. The Veda period.
  2. Ensemble Living ( earning, Livelihood, Socialising, Entertainment )
  3. The art of performance before the arrival of Natya Shastra.
  4. The period of  Natyashastra
  5. The first theatre performance – the resistance and compromise.
  6. The perfect theatre of natyashastra – the Natya gruha.
  7. Abhinaya – an analysis
  8. The methods of acting
  9. The various forms of theatre.
  10. Acting lessons – various levels
  11. Evolution of sociological sensibility in performances – Natya Shastra to the realistic theatre.
  12. Different styles of acting methods – from the Classical period to present times.
  13. Measures of Acting
  14. Philosophy of acting in various theatres – Koodiyattam, Kathakali and the like.
  15. Techniques of Acting – Conventions from Greek classics, Indian Classics and Modern theatre.
  16. Rasa theory of acting.
  17. Aesthetics.
  18. Philosophical sensibility and Experience.