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drama | dramas | dramatic | dramatical | dramatically | dramatist | dramatists | dramatization
This category has the following 6 subcategories, out of 6 total.
Pages in category "Drama"
The following 74 pages are in this category, out of 74 total.
- A brahmana from Bengal wrote a drama about the characteristics of Sri Caitanya Mahaprabhu and came with his manuscript to induce the Lord to hear it
- 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
- Acaryaratna was also named Sri Candrasekhara Acarya. In a drama in his house, Lord Caitanya played the goddess of fortune
- After having that dream, Srila Rupa Gosvami considered, "It is the order of Satyabhama that I write a separate drama for her"
- 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
- 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"
- 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
- 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
- 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
- Having heard these verses recited by Rupa Gosvami, Srila Ramananda Raya said, "Your poetic expressions are like continuous showers of nectar. Kindly let me hear the introductory portion of the second drama"
- His eyes and mind fully absorbed in Lord Jagannatha, Caitanya Mahaprabhu began to play the drama of the song with His two arms
- 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 have brought together in one work all the pastimes performed by Lord Krsna in Vrndavana and in Dvaraka. Now I shall have to divide them into two dramas
- 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 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
- In Vrndavana, Rupa Gosvami began to write a drama. In particular, he composed the introductory verses to invoke good fortune
- Ramananda Raya directed the two girls how to dance and express the deep meaning of his songs through dramatic performances
- Ramananda Raya inquired, "What kind of drama are you writing? We can understand that it is a mine of conclusive statements"
- Regarding the dramas, my point is not to deviate from gravity and compromise or distract from the situation
- Rupa Gosvami also compiled two important dramas named Vidagdha-madhava and Lalita-madhava
- Rupa Gosvami stated that Srila Ramananda Raya was a greatly learned scholar of bona fide dramatic composition
- She said, "Write a separate drama about me. By my mercy it will be extraordinarily beautiful"
- Srila Gadadhara dasa was always fully absorbed in ecstasy as a gopi. In his house Lord Nityananda enacted the drama Dana-keli
- Srila Rupa Gosvami thought, "Satyabhama ordered me to write two different dramas. Now I understand that this order has been confirmed by Sri Caitanya Mahaprabhu"
- 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"
- 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 entertained by the performances of dramas, and yatra parties played wonderfully on the superhuman activities of the Lord, and thus even the illiterate agriculturist would be a participant in the knowledge of Vedic literature
- 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 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 First Chapter describes how Rupa Gosvami met Sri Caitanya Mahaprabhu for the second time and how the Lord heard his two dramas (Vidagdha-madhava and Lalita-madhava)
- The foolish with a poor fund of knowledge cannot know the transcendental nature of the forms, names and activities of the Lord, who is playing like an actor in a drama. Nor can they express such things, neither in their speculations nor in their words
- 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 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 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 inquiries by Srila Ramananda Raya and the replies of Srila Rupa Gosvami indicate that both of them were expert and fully conversant with the techniques of writing drama
- The Vidagdha-madhava is a drama of Lord Krsna’s pastimes in Vrndavana
- The waves carried Him here and there like a piece of dry wood. Who can understand this dramatic performance by Sri Caitanya Mahaprabhu
- Then Sri Caitanya Mahaprabhu said, "My dear Rupa, please recite that verse from your drama which, upon being heard, makes all people’s unhappiness and lamentation go away"
- 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
- 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
- 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 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
- 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
- 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