When we talk in terms of classical theatre it is mandatory to realize that the proscenium theatre of today varies form the ancient theatre.

            One cannot blindly translate nepathya as green room. The worlds like wing, drop-curtain are rendered useless.

            The word natya in itself has to be understood. For theatre were written for the plays of that period.

            Regional forms or desi development of the Margi, and the janapada- or jatakas of the folk form are also important. Infact may students of classical forms tend to ignore this basic understanding of the triad, Margi-desi-Jatakas/janapada.

            The second chapter of the natyashastra (NS) deals with stage architecture, again, translations of random and excess pillars are seen.  It becomes necessary to understand basic vastushastra, vastupuja and archaeological pillars of various periods.            Play productions has deep relations with the era in which it is written and presented. Today’s theatre is irrelevant tomorrow. The relevance is created by the director and the artists interpretations.

            Knowledge of the salabhanjika and Gavasaka’s help in understanding the various pillar and decorative aspects of the stage designing as well as the stanaka’s of the various characters.

            Just as sociology, and anthropology do play important roles in theatre craft, vaastu, also plays an important role in it.