The categorization of Rūpaka-s as major forms and Uparūpaka-s as minor forms of drama by several authors led to an enhanced dramatic presentation. While Rapaka-s had predominance of dialogues, the other included dialogues, accompanied with music and dance which led to a better visual appeal. Though a detailed explanation about Rūpaka-s has been given by Bharata and Dhananjaya (Daśarūpaka-s) not much was dwelt upon the Uparūpaka-s, perhaps because of it diminishing an effective dramatic presentation, rendered by the actor through effective dialogues. "The wise, however realizing the potential in the Uparūpaka-s, that actually enhanced than diminished a dramatic presentation, evolved an amazing branch of visual art that added brilliance to both actor as well as the production."

Bharatiya Vidya Bhavan, Delhi Kendra, as one of the most prestigious institutions of the country, has been ceaselessly moving forward following the vision and mission of its founder Sh. Kulapati Munshi ji. Its KM Munshi Centre for Indology at Delhi Kendra, working on multiple levels, serving Sanskrit and Sanskriti. Its India-centric courses and programs on intellectual culture helps cultural diplomacy for taking forward the soft power of India. Performing maestros from different parts of the country are featured in Kendra's prestigious annual Sangeet Samaroh started in 2009.

The Swar Bharati Digest, an annual publication of Delhi Kendra, covering sanskrit texts, has received wide acclaim, with articles by eminent scholars, academicians and performers, who have deeply studied important concepts given in these texts and analysed them, establishing their importance even in the present times. The publication include Instruments of Classical Music Dance Traditions in India, Abhinavgupta, Nātyaśāstra, Silappatikāram, Brhaddēśī, Sangītaratnākara, Sangītadarpaņa, Sangītapārijāta, Mānasõllāsa, Sangīta Samayasāra, Bhāvaprakāśana and Aspects of Abhinaya in Indian performing Arts - Śāstra and Prayoga.

The present digest on 'Uparupaka-s in Indian Performing Arts', covers articles on the Indian stage theatre, that has diverse presentations, through a broad classification of Rūpaka-s and Uparūpaka-s, the major and minor forms of drama. The Uparūpaka-s, gained importance over a period of time, bridging the classical with the popular. With the growing popularity and development of Uparūpaka-s, the Sanskrit texts on Natya as well as Alaikāra Śāstra, codified them giving them an artistic as well as technical basis. Many of the Uparūpaka-s, even in the present times, continue to find an important place in the diverse cultural and performing traditions of India.

With articles contributed by learned scholars and performers, I am sure the Digest will enhance knowledge of inquisitors, practitioners and scholars of the Performing Arts, while providing valuable insights towards further research in this area of study.

I sincerely thank all those who have contributed towards the publication of this Digest and look forward to others for their support in our earnest effort towards promotion of Sanskrit and Sanskriti.