Name: Nirali Madhabhai Dabhi
Batch: M.A Sem. 2 (2022-2024)
Enrollment Number: 4069206420220006
Roll Number: 13
Subject code: 22402
Paper Number: 109- Literary Theory & Criticism and Indian Aesthetics
Email Address: niralidabhi95@gmail.com
Submit to: Smt S.B. Gardi, Department of English, M.K.B.U
Natyasastra and nine Rasa
What is Natyasastra ?
The Natyasastra is a Sanskrit text on the performing arts that dates back to the 2nd century BCE. It is attributed to Bharata Muni, who is believed to have been a sage and a scholar of the Vedas. The Natyasastra covers a wide range of topics related to theater, dance, music, and aesthetics, and is considered one of the foundational texts of Indian performing arts.
The Natyasastra is divided into 36 chapters and includes detailed instructions on various aspects of theatrical performance, such as stage design, makeup, costumes, acting, and music. It also discusses the theory of aesthetics and the emotional impact of performance, and identifies the nine basic emotions or feelings (rasas) that are central to dramatic performance.
The Natyasastra has had a significant impact on the development of Indian performing arts, and its principles and techniques continue to be used in classical dance, theatre, and music. It is also considered an important text in the study of Indian philosophy and culture, and has been translated into many languages.
Rasa Theory
The Rasa theory is a key concept in Indian aesthetics, particularly in the context of dramatic performance. It is based on the idea that art is meant to evoke emotions and feelings in the audience, and that these emotions can be classified into a set of basic emotions, known as the nine rasas.
The nine rasas are: Shringara (erotic or romantic), Hasya (comic or humorous), Karuna (pathetic or sorrowful), Raudra (angry or violent), Veera (heroic or brave), Bhayanaka (fearful or terrifying), Bibhatsa (disgusting or revolting), Adbhuta (wondrous or marvellous), and Shanta (peaceful or tranquil). Each rasa is associated with specific emotions, moods, and mental states, and is often depicted through particular gestures, facial expressions, music, and other elements of performance.
According to the Rasa theory, the goal of a dramatic performance is to evoke these emotions in the audience through the use of appropriate techniques and elements of performance. This is achieved through the creation of a "rasa" or emotional flavour, which is communicated through the characters, story, and other elements of the performance. The audience is then able to experience the emotions associated with the rasa, which can lead to a heightened sense of emotional awareness and appreciation of the performance.
According to Bharata's theory of rasa, the audience experiences a particular emotion or sentiment, known as rasa, when they witness a creative work. This rasa is realized through a sthayibhav, which is a permanent or dominant emotion that is evoked in the audience. The sthayibhav is then transformed into rasa, which is a heightened aesthetic pleasure.
Bharata also emphasizes the importance of a proper combination of vibhav, anubhav, and sancharibhav for the realization of rasa. Vibhav refers to the causal factors or stimuli that evoke emotions in the audience, anubhav refers to the physical and emotional responses that are expressed by the actors or characters, and sancharibhav refers to the complementary emotions and expressions that accompany the sthayibhav.
Therefore, a play that has a good combination of these bhavas is considered to be perfect and full of rasa, providing a pleasurable experience for the audience. Overall, Bharata's theory of rasa emphasizes the importance of emotions and their proper expression in creative works, highlighting the role of art in evoking aesthetic pleasure and emotional experiences.
The Rasa theory has had a profound influence on Indian arts and aesthetics, and has been a key element of classical dance, theater, and music for centuries. It is also considered an important philosophical and spiritual concept, as it offers a way of connecting with the divine and exploring the human experience through the medium of art.
Rasa Śṛngāram (शृङ्गारं) Hāsyam (हास्यं) Raudram (रौद्रं) Kāruṇyam (कारुण्यं) Bībhatsam (बीभत्सं) Bhayānakam (भयानकं) Vīram(वीरं) Adbhutam (अद्भुतं) Śāntam
| Associated Emotions Love, Attractiveness Laughter, Mirth, Comedy Fury Compassion, Tragedy Disgust, Aversion Horror, Terror Heroism, courage, bravery Wonder, Amazement Peace or tranquillity
| Colour Green White Red Dove coloured Blue Black Whitish Brown Yellow White
|
1. Shringaram
Shringaram rasa is presided over by god Vishnu, the god of love and romance and the colour of this rasa is a colour of youth, green colour, which also suggests nature in which love evokes. In most of the description and implication of love there is a presence of nature. Shringaram is a Rasa which suggests erotic pleasure, attraction and the expression which suggests romance and love between hero and heroine. This is the special Rasa which is considered as the ‘king’ of all the Rasas. It includes the beauty of women and men and the sensuous description of the love of both.
2. Hasyam
This rasa is presided over by lord Ganesha, the god of happiness and laughter. And the colour which is connected with this rasa is white, a peaceful colour which suggests the peace of mind which can be gained by laughter. In hasyam rasa there are comic elements by the characters of the drama by which they try to make the audience laugh and fresh, if there is any tragic scene one after one, dramatists used to use the comic scene to make the audience fresh and ready for the next tragic scene. In British literature there is also this kind of technique that has been used by Christopher Marlow in Dr. Faustus. Sometimes dramatists put such characters which are specially set in drama to evoke hasya rasa so the audience feels relief. Hasya rasa is another important rasa as per Bharat Muni. Hasya is also a therapy as per science which can help to relief the pain.
3. Raudram
This rasa is presided over by Rudra, the angry nature of Shiva is considered as Rudra, and its colour is red, which suggests fire too. Rudra is also considered as a destroyer. This rasa evokes when there is any sequence of anger and the situation is very furious and characters are full of passion and violence. This a very important rasa as far as veer rasa is concerned because both are connected with each other, after anger there is a depiction of veer rasa and the story goes on. The depiction of Raudra rasa suggests that in the story something worse will happen soon, for example in Abhigyan Shakuntalam appearance of Durvasa suggests the fear of the departure of lovers. As anger spoils the relationship, in Rasa theory it suggests the downfall in the life of characters.
4. Karunyam
This rasa is presided over by Yama, the God of death and the colour of this rasa is gray, colour of ashes, which itself suggests that its about tragedy and departure. Karuna is the second important Rasa. As per Bharatmuni, any story cannot be completed without Karuna rasa. Compassion is very important for drama; the audience can be more involved by the tragic incidents than comic or any other. This emotion touches the heart of an audience more than any other rasas. Tragic elements are necessary for drama; because of tragic elements one can get pleasure from hasyam and shrungar. Karun rasa also has its own beauty, if a character is in pain the audience can get tragic aesthetic pleasure. That is the reason that the experience over tragedy we find as much enjoyment as in that of a comedy.
5. Bibhatsam
Bibhatsa rasa is preciding by Lord Shiva, shiva is considered as a tribal man, the colour of this rasa is blue. It suggests disgust and hesitation. Bibhats rasa evokes when there is a description of such unwillingly things and such kind of situation which is not accepted and which has not morally and ideally good perception. This rasa is rarely used, but when it is in use it fills the heart of audience with disgust.
6. Bhayanakam
This rasa is presided over by the goddess Kali, the angry part of parvati goddess. The image of Kali, even the description of it, is also horrible. The colour of Bhayanaka rasa is black; ‘kali’ a word itself suggests the black colour. The colour is also used to horrify. In the drama, it cultivates the fearin the audience by the characters. In mythological drmas, an entrance of the devil or any evil power, it evokes the terror in the mind of the audience which is Bhayanakam rasa.
7. Viram
Veer rasa is to show power and strength of the character. It is presided over by lord Indra which suggests power and strenghth of all the Gods. The colour of this rasa is wheatish brown, near to gold colour. This rasa evokes when thre is a time of fight and the character has to show his ability and physical strength. It suggests heroic presentation by the character in the drama.
8. Adbhutam
Adbhutam rasa is presided over by Lord Brahma, Brahma is a writer of destiny and Adbhutam rasa is about wonder in life of character. The colour of adbhutam is yellow; it is also a colour of brightness. It evokes when an unexpected incident or thing happens, it creates wonder in the mind of character as well as the audience.
9. Shantam
The last rasa is shantam; it means peace. The colour of shantam rasa is white and it is a symbol of peace and also it suggests purity. The rasa is presiding by Vishnu. It evokes when all the characters are happy in their life and feeling pleasure. Most of the time it comes in the end of the drama, when there is a happy ending.
Conclusion
Thus, if rasa is created between actor and audience but yet there are types in rasa also. We can’t say it is only one but there are nine rasa and through it we can enjoy any dance or performance. So after all we can say that rasa are very important to judge any dance or performance. We are unable to judge without these nine rasa. It helps us to understand or evaluate an art so it is very important. These all rasa are related to human nature. We can find it in human beings.
(Word count - 1710)
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