Sanskrit Theatre

Step 1: Understanding the Concept:
The question asks who, according to the Natyashastra, designed the three prescribed shapes of a classical Indian theatre house.
Step 2: Detailed Explanation:
In the second chapter of the Natyashastra, Bharata Muni describes the construction of the 'Natyamandapa' or playhouse. He recounts that after receiving the art of theatre from Lord Brahma, the gods requested a proper space for its performance. Brahma then summoned Vishwakarma, the divine architect and craftsman of the gods, and instructed him to design and build the first theatre hall according to specific principles. Vishwakarma then laid down the plans for the three types of theatres: rectangular ('Vikrishta'), square ('Chaturasra'), and triangular ('Tryasra').
Step 3: Final Answer:
The three shapes of a theatre house were fixed by Vishwakarma.

Step 1: Understanding the Concept:
The question asks for the meaning of terms related to the structure of the ancient Indian theatre as described in the Natyashastra.
Step 2: Detailed Explanation:
The Natyashastra provides detailed architectural plans for a theatre house ('Natyamandapa').
- Ranga-bhumi or Ranga-pitha refers to the stage floor, the area where the performance takes place.
- Ranga-mandala refers to the entire stage area or the stage-house itself, which is also called the Rangsala.
- The auditorium, or the seating area for the spectators, is called the Preksagriha (or Preksagrah).
The question asks what `Ranga-bhumi` and `Ranga mandala` mean together. This combination refers to the entire performance space, encompassing both the stage itself and the larger structure it is part of, which includes the auditorium. Therefore, 'Rangsala' (stage-house) and 'Preksagrah' (auditorium) best represent the complete theatrical space being described.
Step 3: Final Answer:
The terms broadly refer to the Stage-house (Rangsala) and the Auditorium (Preksagrah).

Step 1: Understanding the Concept:
The question asks to identify a play by the Buddhist poet-dramatist Ashvaghosha that focuses on the conversion of two young men to Buddhism.
Step 2: Detailed Explanation:
- (A) Sariputra Prakarana: This is a famous play by Ashvaghosha. Its plot revolves around the story of two Brahmin youths, Sariputra and Maudgalyayana, who become disciples of the Buddha, ultimately gaining his favor and becoming his chief disciples.
- (B) Urubhangam: A play by Bhasa.
- (C) Mrichchhakatika: A play by Shudraka.
- (D) Adhe Adhoore: A modern Hindi play by Mohan Rakesh.
Therefore, Sariputra Prakarana is the correct answer.
Step 3: Final Answer:
The play by Ashvaghosha that deals with two young men gaining the Buddha's favor is Sariputra Prakarana.

Step 1: Understanding the Concept:
The question asks to identify the author of the ancient Sanskrit play Svapnavasavadatta (The Vision of Vasavadatta).
Step 2: Detailed Explanation:
Svapnavasavadatta is one of the most celebrated plays in Sanskrit literature. It is attributed to the ancient Indian playwright Bhasa, who is considered one of the earliest and most significant figures in Sanskrit drama, predating even Kalidasa. The other authors are known for different works: Kalidasa for plays like Abhijnanasakuntalam, Bhavabhuti for Uttararamacarita, and Mohan Rakesh for modern Hindi plays like Adhe Adhoore.
Step 3: Final Answer:
The writer of Svapnavasavadatta is Bhasa.

Step 1: Understanding the Concept:
The question asks for the technical term for the prologue or introduction of a play in the tradition of Sanskrit drama.
Step 2: Detailed Explanation:
In classical Sanskrit theatre, the Prastavana (also spelled Prasthaavana) is the introductory part of the play that comes after the initial benediction (Nandi). In the Prastavana, the Sutradhara (Stage Manager) enters and, often in dialogue with an actress (Nati) or another character, introduces the name of the playwright, the title of the play, and hints at the plot or the main theme. It serves to set the scene and capture the audience's attention.
Step 3: Final Answer:
The introductory sequence that states the substance of a play is called the Prastavana.