Rasa (aesthetics)

Rasa (aesthetics)

In Indian performing arts, a rasa is an emotion inspired in an audience by a performer. They are described by Bharata Muni in the "Nātyasāstra", an ancient work of dramatic theory. Rasas are created by "bhavas": the gestures and facial expressions of the actors. [Farley Richmond, "India", in "The Cambridge Guide to Asian Theatre", ed. James R. Brandon (Cambridge University Press, 1993), p.69.] Expressing "Rasa" in classical Indian dance form is referred to as "Rasa-abhinaya". The "Nātyasāstra" carefully delineates the "bhavas" used to create each "rasa".

Natyasatra describes only eight rasas. The ninth rasa, Santham or tranquil, was suggested by Abhinavagupta on the grounds that actors may need this expression occasionally in their performances.

Originally written for the Sanskrit drama of the age of Kalidasa, the theory of rasas still forms the aesthetic underpinning of all Indian classical dance and theatre, such as Kudiyattam, Bharatha Natyam, and Kathakali.

The Navarasas

Rquote|right|शृन्गाारहास्यकरुणः रौद्रवीरभयानकःबीभत्साद्भुतशान्ताच्यत्येते नवरसास्मृतः

- The Sanskrit Shloka describing Navarasas [Chākyār, Māni Mādhava. "Nātyakalpadrumam", Sangeet Natak Academi, New Delhi, 1975] The nine principal rasas are called the navarasas.

*IAST|Śṛngāram (शृन्गाारं) (Love or Erotic)
*Hāsyam (हास्यं) (Comic)
*IAST|Karuṇam (करुणं) (Pathetic)
*Raudram (रौद्रं) (Furious)
*Vīram (वीरं) (Heroic)
*Bhayānakam (भयानकं) (Horror)
*Bībhatsam (बीभत्सं) (Odious)
*Adbhutam (अद्भुतं) (Wonder)
*Śāntam (शान्तं) (Tranquility)

The Bhavas

The "Natyasastra" identifies the first eight "rasas" with eight corresponding "bhava":

*"Rati" (Love)
*"Hasya" (Mirth)
*"Soka" (Sorrow)
*"Krodha"(Anger)
*"Utsaha" (Energy)
*"Bhaya" (Terror)
*"Jugupsa" (Disgust)
*"Vismaya" (Astonishment)

Performers

The legendary late Guru "Nātyācārya" Padma Shri Mani Madhava Chakyar, considered an authority on "rasa abhinaya" [Sruti- "India's premier Music and Dance magazine", August 1990 issue (71)] ["Journal of Madras Music Academy", 1974] , had an exceptional ability for expressing the "Navarasa"s to their fullest extent. His Navarasa expressions are being archived by the Sangeet Natak Academy of India and many museums and institutions all over the world.

References

*Chākyār, Māni Mādhava. "Nātyakalpadrumam", Sangeet Natak Academi, New Delhi, 1975
* Mani Madhava Chakkyar: The Master at Work ("film- English"), Kavalam N. Panikar, Sangeet Natak Akademi, New Delhi, 1994. Movie contains detailed Rasa Abhinaya by great maestro Guru Mani Madhava Chakyar.

* Parvati Viraham: Mani Madhava Chakyar as Ravana ("film- English"), Kavalam N. Panikar, Sangeet Natak Akademi, New Delhi, 1993. (features Guru Mani Madhava Chakyar as Ravana in the Pārvatī Viraham (separation of Pārvatī) in ancient classical Indian Sanskrit theatre tradition, Koodiyattam.

Notes

reflist

ee also

* Abhinaya
* Nātyasāstra
* Nātyakalpadrumam
* Sanskrit Literature
* Sanskrit Theatre
* Māni Mādhava Chākyār
* Rasa lila


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