Purvaranga can be mentioned as the preliminaries of Sanskrit theatre and later traditional forms, conducted before the commencement of the matter of the main drama. They are in no way part of the author`s written text. A number of aspects of purvaranga take place, including prayers or rituals to remove the obstacles likely to happen in course of performance. It may also be seen as a miniature of the entire drama.

According to the Natyashastra, the purvaranga contains nineteen elements, of which the first eight occur behind a possibly hand-held curtain and not visible to the audience. The pratyahara involves placing the instruments, avatarana the `descent` of the vocalists to sit in their stipulated place, arambha the `beginning` of the singing process with alapa, asravana the preliminary playing of instruments, vaktrapani the preparatory playing of the flute, parighattana the `stirring-up` of the vina. Others can be mentioned as samghotana the playing of percussion accompanying the vina, and margasarita the perfect agreement of flute and percussion as well as preparatory exploration of rhythmic patterns on the cymbals.

Clearly, these steps are practically connected with the performance as leading up to it, such as the alapa or melodic vocal exercise preparatory to singing and recitation, and tuning as well as the initial playing of the fourfold instrument groups. These are tata or string, avanaddha or percussion, sushira or wind, and ghana or cymbals.

The next eleven aspects are presented in full view of the audience. These include gitaka i.e. invocatory song with nirgita, musical syllables bereft of linguistic meaning, followed by lyrics of prayer. Utthapana is the start of the performance with the entry of the sutradhara and his pariparsvikas or assistants, parivarta is the sutradhards movements in different directions to invoke their presiding deities. Others are nandi i.e. the benedictory invocation, sushka and avakrishta i.e. two specific dhruva songs invoking the jarjara or banner staff, rangadvara i.e. presentation in which the play is seminally present, can i.e. graceful or delicate walk evoking sringara or erotic rasa, etc. Mahacari i.e. vigorous walk evoking raudra or furious rasa, trigata i.e. witty, humorous, improvised dialogue between the sutradhara and assistants through which they establish a rapport with the audience, and prarocana i.e. highly theatrical introduction to the play are also other parts. Thus the audience is gradually but systematically exposed to the world of sound and music, to inarticulated as well as articulated words, and to movement and dance addressed to the gods.

The songs, accompanied by ritual dance, form part of the invocation and prayer offered to the presiding deities and the supreme God in his manifestations as the trinity i.e. Brahma, Vishnu, and Siva. This ritual has been likened to Vedic sacrifices or yajna. This is symbols of cosmic creation. Drama is the microcosmic replica of macrocosmic creation, for it may recreate all three worlds i.e. earth, heaven, or sky. The place of the Creator, Brahma, is centre stage, which is occupied by the sutradhara. He is the creator of the play. Thus, this part of the purvaranga represents the Indian view of the universe and places the theatre in the same context. It also hints subtly at the unity of the three levels of time, linking theatrical time with cosmic time on one hand and with the period of the play on the other. These illustrate the way in which the artwork leads viewers back to cosmic unity through the aesthetic experience.

The actual play begins after the dramatist `sprastavan` or prologue takes place in which the sutradhara, along with the nati or actress participate.