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Unit 2: Classical Indian Theory
Topic: Bharata: Natyashastra (Rasa Theory)
Introduction to Natyashastra and Bharata:
● The Natyashastra is an ancient Sanskrit text, traditionally attributed to the sage Bharata Muni. It is the foundational work on theory of drama , dance, and music in classical Indian aesthetics. ● The text is divided into 36 chapters and addresses topics related to the performance, theory, and the practical aspects of theatre, dance, and music. ● Bharata's work has had a significant influence on the development of Indian theatre and is considered the earliest and most comprehensive treatise on performing arts.
Key Concepts of Natyashastra and Rasa Theory:
1. What is Rasa?
● Rasa (literally meaning "juice" or "essence") refers to the aesthetic flavor or emotional experience that the audience experiences while watching a performance. ● It is central to Indian classical arts , particularly in theatre and dance, and focuses on how an art form can evoke specific emotions in the audience. ● Bharata Muni outlines eight primary Rasas in the Natyashastra , which are based on specific emotional states.
2. The Eight Rasas (Primary Emotions):
● 1. Shringara – Love, beauty, attraction ● 2. Hasya – Laughter, humor ● 3. Karuna – Compassion, pathos, sadness ● 4. Raudra – Anger, rage ● 5. Veera – Heroism, courage, valor ● 6. Bhayanaka – Fear, horror ● 7. Bibhatsa – Disgust, aversion ● 8. Adbhuta – Wonder, amazement
3. Sthayi Bhavas (Permanent Emotions):
● These are the underlying, permanent emotions that form the foundation of each Rasa. ● For example, Shringara Rasa is based on the permanent emotion of love (Shringara Bhava). ● The interaction of these permanent emotions with various vibhavas (stimuli) leads to the creation of a specific Rasa.
4. Vibhavas (Stimuli):
● Vibhavas are the stimuli or external factors that evoke a particular emotion (Rasa) in the audience. They can be physical (like the sight of a beloved), psychological (like a situation evoking fear), or social (like a heroic act). ● There are two types of Vibhavas : ○ Alambana Vibhava : The main character or object causing the emotion (e.g., lover, enemy). ○ Uddipana Vibhava : The circumstance or setting that intensifies the emotion (e.g., the moonlight intensifying romantic feelings).
5. Anubhavas (Consequences):
● These are the physical manifestations of the emotions felt by the character, such as trembling, sweating, weeping, etc. ● They are the visible expressions of the emotion, which the actor portrays during the performance.
6. Vyabhichari Bhavas (Transitory Emotions):
● These are temporary, fleeting emotions or states that can occur in the course of the performance. They complement the permanent emotions but do not dominate the Rasa. ● Examples include feelings like joy, jealousy, anxiety , etc.
7. Rasa and the Actor-Audience Relationship:
● The performance is designed to evoke a shared emotional experience between the actor and the audience. The Rasa emerges when the actor effectively portrays emotions through gestures, expressions, music, and dialogue , allowing the audience to participate in the experience.
8. The Role of Music and Dance in Rasa:
● Music and dance play a crucial role in intensifying the emotional experience, allowing the Rhythmic structure , melody , and movement to enhance the portrayal of specific Rasas. ● The Natyashastra gives specific instructions on how to use instrumental music , vocal songs , and dance movements to create the desired emotional impact.
- Adbhuta (Wonder or Amazement) :
○ Adbhuta evokes awe, wonder, and amazement. It represents surprise, curiosity, and the unknown. ○ Example : The miraculous or supernatural events in a play, such as the appearance of divine beings or magical occurrences.
Key Concepts in Natyashastra :
- Dramatic Unity :
○ Bharata emphasizes unity in drama , focusing on the effective integration of speech, music, and dance. A performance must have a balanced relationship between its components.
- Types of Dramas :
○ Bharata identifies eight types of plays , including Natya (classical play), Prakarana (a work of social significance), and Bhana (one-act play).
- Importance of Mimesis (Imitation) :
○ Bharata follows Aristotle's concept of mimesis , where imitation of real life through gestures, expressions , and actions brings drama to life.
Question Series for Exam Preparation:
Section 1: Very Short Answer Questions (1-2 Marks)
- What is the meaning of the term "Rasa" in Natyashastra****? Answer : Rasa means "essence" or "flavor" in Sanskrit. It refers to the emotional experience or aesthetic sentiment that the audience experiences when viewing a performance. Rasa is the core concept in Bharata’s theory of drama and theatre.
- Name the eight primary Rasas described in Natyashastra****. Answer : The eight primary Rasas are:
○ Shringara (Love) ○ Hasya (Laughter) ○ Karuna (Sorrow) ○ Raudra (Anger)
○ Veera (Heroism) ○ Bhayanaka (Fear) ○ Bibhatsa (Disgust) ○ Adbhuta (Wonder)
- What are Vibhavas in the context of Rasa theory? Answer : Vibhavas are the external stimuli or factors that evoke a specific emotion in the audience. These are of two types:
○ Alambana Vibhava : The main character or object that evokes the emotion. ○ Uddipana Vibhava : The circumstances or setting that intensify the emotion.
- What is the role of Anubhavas in Natyashastra****? Answer : Anubhavas are the physical manifestations or expressions of emotions in the character, such as trembling, weeping, or smiling, which convey the emotional state of the character to the audience.
- Define Sthayi Bhavas. Answer : Sthayi Bhavas are the permanent emotions that form the foundation of each Rasa. These emotions are the underlying state of mind that gives rise to a specific Rasa (e.g., love for Shringara Rasa).
- What are Vyabhichari Bhavas? Answer : Vyabhichari Bhavas are transitory emotions or temporary states that complement the permanent emotions (Sthayi Bhavas). They are fleeting emotional responses that occur throughout a performance.
- What is the central idea of Bharata’s Natyashastra****? Answer : The central idea of Natyashastra is to provide a detailed guide to the performance of drama, dance, and music. It addresses the theory of drama, stage performance, and the emotional impact (Rasa) created through performance.
- Explain the concept of Shringara Rasa. Answer : Shringara Rasa represents love, beauty , and romance. It is considered the most significant Rasa, focusing on attraction, romantic feelings, and the beauty of relationships, often expressed in classical dance and theatre.
- What emotion does Bhayanaka Rasa evoke in the audience? Answer : Bhayanaka Rasa evokes fear or horror in the audience, making them feel anxious, frightened, or alarmed by the situation unfolding on stage.
- What is the relationship between Rasa and the actor-audience interaction in Natyashastra****? Answer : Rasa is created when the actor’s performance effectively conveys emotions through gestures, expressions , and movements , which then evokes a shared emotional experience with the audience, allowing them to connect emotionally with the
- Vikriti (Plays with abnormal or exaggerated plots)
- Rupaka (Action-oriented plays)
- Uttara (Plays with happy endings)
- Mahakavyas (Epic plays)
- What is the significance of the Veera Rasa in Indian performance arts? Answer : Veera Rasa represents heroism, bravery, and valor. It inspires courage and strength in the audience. It is typically seen in performances that portray battles, wars, and courageous actions, such as epic characters like Rama or Arjuna in Ramayana and Mahabharata.
- Discuss the role of facial expressions in portraying Rasas. Answer : Facial expressions are crucial for portraying Rasas. They help convey emotions such as joy, sadness, fear, or anger through specific movements of the eyebrows , eyes , mouth , and cheeks. For example, a smile can represent Hasya Rasa (laughter), while a furrowed brow might represent Raudra Rasa (anger).
- What does Vyabhichari Bhavas contribute to the performance of Rasas? Answer : Vyabhichari Bhavas are transitory emotions that complement the permanent emotions (Sthayi Bhavas) and help build the complexity of the emotional experience in the audience. These fleeting emotions, such as joy, sorrow, or surprise, enhance the intensity of the Rasa and make the performance more dynamic.
- How does Bharata’s theory of Rasa differ from Aristotle’s concept of Catharsis? Answer : Bharata’s concept of Rasa focuses on the emotional experience of the audience, where the emotions are evoked and shared between the performer and the viewer. On the other hand, Catharsis in Aristotle’s theory is about the purification of emotions (particularly pity and fear) in the audience, providing emotional release through tragedy.
- What is the role of Sanskrit drama in the development of Rasa theory? Answer : Sanskrit drama plays a vital role in developing the Rasa theory by providing structured guidelines for actors, dancers, and musicians. Sanskrit dramas such as Shakuntala and Uttara Ramacharita exemplify how Rasa is portrayed through dialogue , gestures , and performative techniques.
- How does the concept of Adbhuta Rasa play a role in traditional Indian theatre? Answer : Adbhuta Rasa evokes wonder, awe, or amazement in the audience. It plays an essential role in traditional Indian theatre, especially in mythological or fantastical stories, where supernatural events, divine intervention, or miraculous occurrences captivate and astonish the audience.
Section 3: Long Answer Questions (5-10 Marks)
- Analyze the importance of Rasa theory in Bharata’s Natyashastra and its impact on Indian theatre. Answer : Rasa theory is the cornerstone of Bharata’s Natyashastra and has a profound impact on Indian theatre. The theory focuses on the emotional engagement of the audience, helping create a shared experience between the performers and viewers. By identifying and categorizing the eight primary Rasas, Bharata provided a structured framework for the emotional portrayal of characters. The emphasis on music , gestures , facial expressions , and movements guides actors and dancers in presenting emotions that resonate with the audience. Rasa theory influences all forms of classical dance , theatre , and music in India.
- Discuss the eight Rasas in detail, providing examples from Indian classical performances. Answer : Each of the eight primary Rasas represents a distinct emotional state.
○ Shringara (love): Represents romantic love, beauty, and attraction. Example: Radha-Krishna’s love story in Bharatanatyam. ○ Hasya (laughter): Represents humor, wit, and joy. Example: Comic scenes in Kathakali or Kuchipudi. ○ Karuna (compassion): Evokes sorrow, grief, and sympathy. Example: The mourning of Karna in Mahabharata. ○ Raudra (anger): Represents fury, rage, and violence. Example: Kali’s fury in Kathakali. ○ Veera (heroism): Represents bravery, valor, and courage. Example: Arjuna’s courage in the Mahabharata. ○ Bhayanaka (fear): Evokes dread and horror. Example: Ghost stories in traditional Natya plays. ○ Bibhatsa (disgust): Represents aversion and revulsion. Example: Scenes of decay in Bharatanatyam. ○ Adbhuta (wonder): Evokes awe, surprise, and amazement. Example: Supernatural elements in Kathakali and Ramlila.
- Explain the relationship between Sthayi Bhavas, Vibhavas, Anubhavas, and Vyabhichari Bhavas in the creation of Rasa. Answer : The creation of Rasa involves the interplay of four elements:
○ Sthayi Bhavas : The permanent, underlying emotion that gives rise to the Rasa. ○ Vibhavas : External stimuli, including characters and circumstances , that trigger the emotion.
- Which of the following is a Vyabhichari Bhava? a) Fear b) Joy c) Grief d) Longing Answer : d) Longing Explanation : Vyabhichari Bhavas are transient emotions that appear temporarily during a performance, such as longing or surprise.
- Which emotion does Raudra Rasa evoke in the audience? a) Fear b) Laughter c) Anger d) Surprise Answer : c) Anger Explanation : Raudra Rasa evokes the emotion of anger or fury in the audience.
Moderate Level MCQs
- What are Vibhavas in the context of Rasa theory? a) Permanent emotions b) Physical manifestations of emotions c) External stimuli that evoke emotions d) Fleeting emotional responses Answer : c) External stimuli that evoke emotions Explanation : Vibhavas are the external factors (characters, events, or circumstances) that trigger an emotional response or Rasa in the audience.
- Which of the following Rasas is connected with feelings of fear? a) Shringara b) Bhayanaka c) Hasya d) Karuna Answer : b) Bhayanaka Explanation : Bhayanaka Rasa is associated with the emotion of fear.
- What is the primary function of Anubhavas in Rasa theory? a) To represent permanent emotions b) To create fleeting emotional states c) To serve as the physical manifestation of emotions d) To enhance external stimuli Answer : c) To serve as the physical manifestation of emotions
Explanation : Anubhavas are the visible signs or physical manifestations (e.g., tears, trembling) of an emotion, helping to convey the emotional state of the character.
- Which of the following Rasas is not part of the eight Rasas in Natyashastra****? a) Veera b) Bhayanaka c) Shanti d) Shringara Answer : c) Shanti Explanation : Shanti, which represents peace or tranquility, is not part of the eight primary Rasas listed in Natyashastra.
- What are Sthayi Bhavas in Rasa theory? a) The fleeting emotional responses b) The underlying, permanent emotions c) The physical expressions of emotion d) The external circumstances causing emotion Answer : b) The underlying, permanent emotions Explanation : Sthayi Bhavas are the permanent or core emotions that form the basis of each Rasa (e.g., love for Shringara Rasa, sorrow for Karuna Rasa).
Difficult Level MCQs
- Which of the following Rasas is best exemplified by the emotion of grief in Bharata's Natyashastra****? a) Raudra b) Bhayanaka c) Karuna d) Veera Answer : c) Karuna Explanation : Karuna Rasa evokes the emotion of sorrow or compassion , often experienced through grief and empathy.
- What is the relationship between Vibhavas, Anubhavas, and Sthayi Bhavas? a) Vibhavas are transitory emotions, while Anubhavas are permanent emotions b) Sthayi Bhavas are the permanent emotions that Vibhavas and Anubhavas trigger c) Anubhavas and Vibhavas are both temporary emotions d) Sthayi Bhavas are external circumstances that evoke emotions Answer : b) Sthayi Bhavas are the permanent emotions that Vibhavas and Anubhavas trigger Explanation : Sthayi Bhavas represent the permanent emotions (such as love, anger) that are triggered by external stimuli (Vibhavas) and physically manifested through
b) Arjuna c) Draupadi d) Ravana Answer : b) Arjuna Explanation : Veera Rasa , which represents heroism, bravery, and courage, is often associated with characters like Arjuna in the Mahabharata, who embodies courage and valor.
- What does the term Natya refer to in the context of Bharata’s Natyashastra****? a) Theoretical concepts of drama b) The written text of a drama c) The performance of drama and dance d) The structure of classical music Answer : c) The performance of drama and dance Explanation : Natya refers to the performance of drama and dance which is central to Bharata’s treatise, focusing on how emotions (Rasa) are communicated through live performance.
- Which of the following is true regarding the use of Rasa in traditional Indian theatre? a) Rasa is not important for the audience's emotional experience b) Rasa serves only to entertain, not to teach moral lessons c) Rasa is meant to emotionally engage the audience and convey universal human experiences d) Rasa is only used in dance and not in drama Answer : c) Rasa is meant to emotionally engage the audience and convey universal human experiences Explanation : Rasa is not just for entertainment but plays an essential role in engaging the audience emotionally, allowing them to connect with the universal themes presented in the performance.
- In Bharata's Natyashastra , the Sthayi Bhava of Shringara Rasa is primarily associated with which emotion? a) Heroism b) Love c) Fear d) Sorrow Answer : b) Love Explanation : The Sthayi Bhava (permanent emotion) for Shringara Rasa is love , which forms the basis of this emotional experience in performance.
