LANGUAGE IN INDIA

Strength for Today and Bright Hope for Tomorrow

Volume 14:3 March 2014
ISSN 1930-2940

Managing Editor: M. S. Thirumalai, Ph.D.
Editors: B. Mallikarjun, Ph.D.
         Sam Mohanlal, Ph.D.
         B. A. Sharada, Ph.D.
         A. R. Fatihi, Ph.D.
         Lakhan Gusain, Ph.D.
         Jennifer Marie Bayer, Ph.D.
         S. M. Ravichandran, Ph.D.
         G. Baskaran, Ph.D.
         L. Ramamoorthy, Ph.D.
         C. Subburaman, Ph.D. (Economics)
Assistant Managing Editor: Swarna Thirumalai, M.A.

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Abhinavagupta’s Exposition Extends Bharata’s Rasa Theory in Several Ways

Astha, M.A., B.Ed., Ph.D. Scholar

Focus of Natyasastra

The Natyasastra is an ancient Indian treaty on the performing arts, encompassing theatre, dance and music written in 2 century BC. It is traditionally attributed to Bharat Muni. The work is incredible in its details regarding stage craft, rasa, bhava, abhinay, etc. The text contains 6000 sutras, incorporated in to a frame where a number of munis approach Bharat asking him about Natyaveda and Rasa, Bhava, Sutra, Karika, Nirukta, Abhinaya etc. Bharat quenches their thirst by explaining every thing minutely. In the 6th chapter we read that Bharat Muni enunciated eight Rasas. Each Rasa according to Natyasastra has a presiding deity and specific colors.

What is Rasa?

Rasa is an emotional response that is inspired in an audience by a performer. Rasa is a developed relishable and enhanced state of a permanent mood which is called sthai bhava. Rasa literally means the quintessential essence of a work of art. It is a two-way process, the artist strives for rasa in his work and the rasika or connoisseur intuitively detects it. He says Rasa is bestowed on the spectator or audience.

This is only the beginning part of the article. PLEASE CLICK HERE TO READ THE ENTIRE ARTICLE IN PRINTER-FRIENDLY VERSION.

Astha, Ph.D. Research Scholar
Department of English and Foreign Languages
BPSMV
Khanpur Kalan
Sonipat 13100
1 Haryana
India
astharu@gmail.com
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