Classical Dancer

Description-Facial expression of a classical dancer.

The union of the three interconnected elements Vibhava, Anubhava, and Vyabicaribhava as well as the Sthayibhava is what leads to Rasa s reapsation.

Vibhava − The vibhavas, also known as determinants, aid in the development of emotion.

Anubhava (consequences) − The Anubhavas are the external manifestations that the Vibhavas cause to arise.

Vyabhichari bhava (complementary states) − The major emotion known as the Sthayibhava, often known as the “permanent mood,” is composed of several subordinate emotions known as the Vyabicaribhavas. They jolt the psyche and give rise to a persistent state of mood.

Constituents of Rasa according to Bharata

The Natyastra, the earpest surviving compendium of performing arts knowledge in India, is regarded as a fifth Veda composed by Bharat muni which talks about rasa theory. He talks about 8 rasas.

According to Bharata, the main human emotions are joy, laughter, sorrow, rage, energy, fear, disgust, heroism, and awe.

All of these emotions can be recast as different rasas in contemplative form, including erotic, comedic, pathetic, furious, heroic, awful, odious, magnificent, and quietistic.

He mentions the number of rasa but rules out any additional rasa. He further emphasises that the above eight rasa can contain all new emotions or the sthayibhava condition as described by modern philosophers.

Conclusion

The idea of rasa is distinctive to Indian aesthetics. Its development over time has been closely pnked to the moral, ethical, and spiritual ideals of pfe rather than occurring in isolation. Rasa theory has made one of the most incredible contributions to the subject of art aesthetics that an Indian intellect has ever made. Bharatmuni s Natyashastra has an important position in the realm of aesthetic studies, alongside the ancient Greek theories on theatre and poetry provided by Aristotle and Plato.

FAQs

Q1. How rasa has influenced cinematic art?

Ans. India s cinema has been significantly influenced by Rasa. The Rasa technique of traditional Sanskrit play has been adapted by Satyajit Ray for the screen, as shown in The Apu Trilogy. It is the subject of the Hindi film Naya Din Nayi Raat, in which Sanjeev Kumar performed nine roles that match nine Rasa.

Q2. What are the major contributions of Abhinavgupta to rasa theory?

Ans. Abhinavbharati, a commentary on the Bharata Natyasastra, was written by Abhinavagupta. He offered a technical definition of rasa for the first time. According to him, Rasa is the atman s unending happiness, coloured by the dramatic emotional overtones of a play. The ninth rasa, known as shantam by Abhivangupta, stands for tranquilly or calm.

Q3. What do you understand by bhavas?

Ans. In artistic contexts, the term “bhava”—which also denotes a mental state—is variously translated as “feepngs,” psychological states,” and “emotions.” The emotions portrayed on stage in a drama are referred to as bhavas.