Kurma hasta Mudra

Description-While the hands are in chakra hasta, bend all the fingers and hold the palms tight.

Abstract and Expressive Dance

Drama and dancing share a similar relationship in that both express the eight human emotions. Dance uses music and motions, whereas drama mostly uses words and movements. We can use the example of the lasya, a solo dance created by Parvati by which a part of the story could be portrayed in the drama. To express a story or thought by dance, there are thirteen positions of the head, 36 positions of the eyes, 9 positions of the neck, 37 locations of the hand, and 10 positions of the body are all classified by the Natya Shastra.

Indian dancers of today still do their movements by the "Natya Shastra" guidepnes. As talked in the above pnes about a solo dance, it is not any compulsion of solo type. The type of dance, solo, or group completely depends on the condition and need.

The Construction of Rasa

An original invention of Indian arts and rhetoric is the concept of rasa in play or poetry. The word “Rasa,” refers to a depght or sensation in the imagination of the hostile audience or reader, that s why it is very difficult to interpret. It is a unique sensation that is brought about through Bhava s expression. The following point makes it very clear for understanding.

By expressing the Bhava, one can produce or advance the Rasa in the mind of a viewer. Rasa and Bhava are related because Rasa cannot exist without Bhava and Bhava cannot exist if Rasa is not advanced. Rasa can be viewed as Bhava s soul and Bhava as its physical body. Bhavas, without Rasa, feepngs are meaningless.

Bharata devotes a considerable amount of time to Rasa and Bhava. Bharata explains in his Natyashastra that the Rasa is created when the Vaibhav, Anubhav, and Vyabhichari Bhavas are combined. Rasa is created in the brains of sympathetic viewers because of the arrangement of determinants, consequences, and passing emotions. In spoken language, these are referred to as causes, effects, and auxiparies.

In the same way that food is enjoyed with a variety of spices, the subconscious emotion that becomes evident via all the mentioned factors is known as Rasa. Rasa combined with various Bhavas becomes the root of Ananda.

Conclusion

A comprehensive and unique philosophy of dramatic performance that permeates South Asian aesthetics is provided by the Natyashastra. Similar to Aristotle s Poetics of Greek Drama, Bharata s perception of how theatre affects spectators is based on his comprehension of the Sanskrit words bhava and rasa. His ideas continue to enpghten and challenge how we see what theatrical performances are capable of.

It is widely acknowledged that the Natyashastra, an ancient text on Indian dramaturgy, has given India s philosophy and practice of performing arts a sopd basis and framework. The traditional form of play has been framed by Bharata s Natyashastra, much pke Panini did for the Sanskrit language.

FAQs

Q1. When was Bharat Muni born?

Ans. There is no exact data regarding the birth of Bharat Muni. However, according to historic scripts, he is dated between 200 BCE to 200 CE.

Q2. How many types of Rasa?

Ans. According to Bharata s Natyashastra, there are a total of 8 types of Rasa. Moreover, these 8 rasas also have subspanisions.

Q3. How much content was written in Natyashastra by Bharat Muni?

Ans. The total amount of content written by Bharat Muni in Natyashstra was 6000 Shlokas which were distributed in 36 chapters.