Rasa Sutra Varnam.pdf
Transcript of Rasa Sutra Varnam.pdf
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RASA THEORY
Of particular concern to Indian drama and
literature are the terms 'bhava' or the state of mind
and rasa(litrally meaning 'juice' or 'essence')
referring generally to the emotional flavors/essence
crafted into the work by the writer and relished by
a 'sensitive spectator' or sahdayaor one with
positive taste and mind.
Rasas are created by bhavas. The first mention of
the concept of Rasa has been seen in the ancient
and by far one of the most important texts available
to us today which is Bharata Munis Ntyasstra,an ancient work of dramatic theory.
Possessed of a deep psychological insight, Bharat
actually investigated man's entire psyche and
discovered various emotions and sentiments, which
it capable of encompassing.
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He also elaborated how an emotion, when
represented into a medium, transpired 'Rasa', anddelighted thereby spectator's mind and effected
sublimation. He considered 'Rasa', its sole
instrument, though strangely did not attempt at
defining it. Questions such as: 'What is Rasa?' or
'Why does it delight?' are answered simply as:
'because it can be savored'.
Bharat's period varies from the second century B.
C. to second century A. D., but he alludes to some
earlier scholars, which suggests that during the
period after the Upanishads to Bharat, the subject
was in active discourse, though nothing of it nowexist.
The theory appears to have remained in focus in
post-Bharat period also but it is only from Ninth
century onward that any material becomes
available.
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Most of the 'Acharyas' - Bhatta Lollat, Dandin,
Shankuk, Bhattanayak, Anandavardhan,Abhinavagupta, Bhojaraj, Mammat, Ramachandra
Gunachandra, Shardatanay, Vishvanath,
Rupagoswami, and others, who further elaborated
Bharat's theory emerged during the period from the
ninth to the fourteenth century.
Although the concept of rasa is fundamental to
many forms of Indian artincluding dance, music,
musical theatre, cinemaand literature, the
treatment, interpretation, usage and actual
performance of a particular rasa differs greatly
between different styles and schools of abhinaya,
and the huge regional differences even within one
style.
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Experience of rasa (Ras Anubhava)
A rasa is the developed relish able state of a
permanent mood, which is called sthayi bhava.
Rasa is the cumulative result of Bhava (Emotions),
Vibhava (stimulus), Anubhava (involuntary
reaction) and Vyabhicari bhava (voluntary reaction).
For example, just as when various condiments and
sauces and herbs and other materials are mixed, a
taste (different from the individual tastes of the
components) is felt, or when the mixing of materials
like molasses with other materials produces six
kinds of tastes, so also along with the different
bhavas (emotions) the Sthayi bhava becomes a
taste (rasa, flavour, feeling). The production of
aesthetic rasa from bhavas is analogous to the
production of tastes/juices of kinds from food with
condiments, curries, pastes and spices.
But what is this thing called rasa? Here is the
reply. Because it is enjoyably tasted, it is called
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rasa. How does the enjoyment come? Persons who
eat prepared food mixed with different condimentsand sauces, etc., if they are sensitive, enjoy the
different tastes and then feel pleasure (or
satisfaction); likewise, sensitive spectators, after
enjoying the various emotions expressed by the
actors through words, gestures and feelings feel
pleasure. Etc. This final feeling experienced by the
spectators here can be explained as (the various)
rasas of natya (includes all forms of art thorough
which Rasa and be experienced).
Here are two verses handed down by tradition.
Those who are connoisseurs of tastes enjoy the taste of
food prepared from (or containing) different materials;
likewise, the intelligent, healthy persons enjoy various Sthayi
bhavas related to (i.e., expressed by) the acting of emotions.
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Bhavaor emotion, are the thoughts which come to
the mind after seeing an object or person.
Vibhavas means karana or cause. It is of two
kinds:
1.Alambana, the personal or human object and
substratum, or simply put the main reason or
cause and;
2.Uddipana, the excitants or the supportive
reasons or causes around the main object.
Anubhava, as the name signifies, means the
ensuants or effects following the rise of theemotion. The facial expressions, body movements,
etc., through the help of which the bhava or
sentiment is expressed or conveyed to the audience.
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Vedic concept
The Rishi Praskanva insists (Rig Veda I.46.6) that
the sources of knowledge, some of which are open
and some hidden they are to be sought and found
by the seekers who are after Truth, these sources
are not available everywhere, anywhere and at all
times. In this context Rishi Agastya (Rig Veda
I.187.4) stating thus
It reminds the ardent seekers about the six kinds of
Rasa or taste which food has but which all tastes
cannot be found in one place or item, for these tastes
are variously distributed throughout space. Food, in
this context, means matter or objects or thoughts,
which are all produced effects, effects that are
produced owing to various causes. The Rasas, are
the unique qualities which bring about variety in things
created whose source is one and one only.
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Relation between rasa and bhava
A question is asked here is: Are the bhavas
produced by rasas, or do the rasas produce the
bhavas? Some are of the opinion that their relation
is symbiotic. That however is not correct. It can be
clearly seen that rasa is produced from bhavas and
not vice versa.
Here are the verses in support of the above.
1. Theatre-producers say that a bhava is called as
such because it leads to (bhu) a rasa arising out of
various kind of acting.
2. Many materials of different kinds produce a
distinct flavour: likewise, a flavour is produced by
the bhavas through acting.
3. There is no rasa (flavour) without a bhava and
there is no bhava without rasa. Through acting,
mutually they lead to a distinct result.
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4. Condiments and herbs (i.e., vegetables) render
food tasty; so is the mutual relation betweenbhavas and rasas.
5. Out of a seed grows a tree, out of a tree a flower,
out of a flower a fruit, so rasa is the seed of all
(Sthayi) bhavas (of the spectators).
When we put all the above topics together in one
single context it gives rise to the concept of
RasotpattiEvoking a Sentiment
From the above shloka we get another aspect of
defining Rasa. We can clearly see that the main aim
of the art of dance or for that matter any other art
from is Rasotpatti.
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ASHTARASA
A total of ashta or eight rasas have been recognized
in drama. They are:
1.SrngaraErotic
2.HasyaComic
3.KarunaPathetic
4.RaudraFurious
5.
ViraHeroic
6.BhayanakaTerrible
7.BibhatsaOdious
8.AdbhutaMarvellous
These eight sentiments or rasas have been named
by Druhina (Brahma).
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Bhavas (Psychological States)
There are different varieties of Bhavas that have
been defined in the Natyasastra. Bhava includes:
Sthayi Bhava (Durable/Permanent
Psychological States)
Sanchari/Vyabhichari Bhava
(Complementary/Wandering Pyschological
States)
Sattvika Bhava
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Sthayi Bhava (Durable/Permanent
Psychological States)
This can be defined as the Bhava which comes first
to the mind at the time of rasotpatti and remains
throughout the duration of the event or sentiment
which has to be experienced. Every Rasa has its
own individual Sthayi Bhava. There are eight
Rasas, so there are eight Sthayi Bhavas. The Sthayi
Bhavas are:
1.RatiLove
2.HasyaMirth
3.ShokaSorrow
4.KrodhaAnger
5.UtsahaEnergy
6.BhayaTerror
7.
JugupsaDisgust
8.VismayaAstonishment
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Sanchari Bhava (Complementary / Wandering
Psychological States)
These can be defined as wandering feelings which
dont last for very long. They arise to give
importance and underline the Sthayi Bhava. Once
their task is complete they go away. There are a
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total of thirty three Sanchari bhavas which have
been recognized. It is not necessary that each of thethirty three have to come up every time. Only the
bhavas which are relevant to a particular situation
will arise and they may come up to the surface
depending on the flow of events and sentiments.
The thirty three Complementary Psychological
states are known to be the following:
Discouragement, Weakness, Apprehension, Envy,
Intoxication, Weariness, Indolence, Depression,
Anxiety, Distraction, Recollection, Contentment,
Shame, Inconstancy, Joy, Agitation, Stupor,
Arrogance, Despair, Impatience, Sleep, Epilepsy,
Dreaming, Awakening, Indignation, Dissimulation,Dissimulation, Cruelty, Assurance, Sickness,
Insanity, Death, Fright and Deliberation.
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Sattvika Bhava
Sattvika Bhava can be defined as the true natural
feelings which come directly from the heart. These
feelings cannot be artificially created, but have to
come up on their own. In all there are eight
Sattvika bhavas recognized. They are:
1.SthambhParalysis
2.SvetambaPerspiration
3.RomanchHorripilation
4.SwarbhangothChange of Voice
5.VepathuTrembling
6.VyvarniyaChange of Colour
7.AshruWeeping
8.PralayaFainting
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Origins, colour and deities of rasas
The colours and Deities are:
Rasa Colour Presiding Deity
1. Srngara shyama Vishnu
2. Hasya white Prathamas
3. Karuna grey Yama
4. Raudra red Rudra
5. Vira gaura Mahendra
6. Bhayanaka black Kaala
7. Bibhatsa blue Mahadeva
8. Adbhuta yellow Brahma
These are the origins, colours and deities of the
rasas.
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Eight Rasas from four Original Rasas
The Hasya Rasa or Comic Sentiment arises from
the Srngara Rasa or Erotic Sentiment.
The Karuna Rasa or Pathetic Sentiment arises
from the Raudra Rasa or Furious Sentiment.
The Adbhuta Rasa or Marvellous Sentiment
arises from the Vira Rasa or Heroic Sentiment.
The Bhayanaka Rasa or Terrible Sentiment
arises from the Bibhatsa Rasa or Odious
Sentiment.
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Srngara Rasa
Srngara Rasa is based on the Sthayi bhava of rati
(love). It is revealed by gorgeous costumes. In our
daily life whatever is pure, holy, resplendent is
referred to as Srngara (i.e., in the phrase bedeck
oneself withor Srngarin). Whoever has a luxurious
dress is referred to as ornamenting oneself.
Attractive and beautiful dress is called Srngara by
common practice; the rasas and bhavas in the
natya also are given names in accordance with
paternal and maternal family tradition.
The Srngara Rasa results in the case of men andwomen, of healthy youth. It is of two kinds:
Sanyoga (fulfillment or love in union), Viyoga (non-
fulfilment; love in separation).
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The Sanyoga Srngara is stimulated by season (i.e.,
spring), garlands, scent (anointment), ornament
and experience or by listening to, or seeing desired
company, beautiful surrounding, delightful music,
beautiful parks. The Srngara must be expressed
(i.e., acted) by loving looks, lifting (raising)
eyebrows, side-glances, graceful steps and gestures
which are all anubhavas or involuntary (natural).
The Vyabhicari bhavas are the thirty-three
enumerated earlier except laziness, cruelty and
disgust.
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The anubhavas or the spontaneous reactions in the
case of Viyoga Srngara are dejection, fatigue,suspicion, jealousy, anxiety, impatience, sleepiness,
dreaminess, lassitude, forgetfulness, death, etc.
Actually these are the bhavas of Karuna rasa. Why
should they be acted in the case of Srngara? As
already said, Srngara is of two kinds. The authors
of Sastras on erotics are also of the same opinion.
We shall try to elaborate on this in the context of
emotional acting.
Karuna, in fact, is the disinterestedness or
indifference consequent to curses, misery,
separation from loved persons, loss of wealth,
murder, imprisonment, etc. Viyoga, on the other
hand, is interestedness, or hopefulness because of
impatience, anxiety, etc. For this reason Karuna
and Viyoga are entirely distinct from one another.
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The Srngara may be considered in its two types as
related to all the bhavas. Moreover, a personenjoying happiness, achieving his desires and
helped by proper season, flowers, etc. when he is in
a womans company that is called Srngara.
There are two verses in Arya metre which say in
sutra style: Srngara rasa is produced by seasonal
flowers and ornaments, by enjoying (the company
of) beloved persons, music and poetry and by
diversions like going to a park. This should be acted
by graceful looks and words and sweet speeches
and smiles and by pleasing and attractive gestures.
After Bharta, all theoreticians of Indian poetics has
accepted Sringar Rasa or love as an important part
of human psyche andbehavior as well as the driving
force of human life and existence.
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Rati or love in Sringara Rasa is love or inclination of
man or woman towards each other on the basis ofmutual involvement or consent of each other.
Rudarta clearly mentions in Kavyalamkara that no
other Rasa is capable of proceeding that bliss or
pleasure which the Sringar Rasadoes. The
sentiment permeates all human beings, and more
that that even the flora and fauna. Anandvardhan
in Dhvanyaloka considers Sringar Rasa among all
Rasas as sweetest and the most exhilarating.
Bhoja holds Sringara to be synonyms of self and
ego (Ahamkara). Here, the term Ahamkara (ego) as
used by Bhoja does not mean false pride or
arrogance, but is indicative of innate attachment of
man to one`s own self. Because of this very ego and
self- attachment he begins to expand his
personality. When a lovely damsel casts glances ona man, it awakens an emotion of self
consciousness, self confidence and self attachment
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and plunges him headlong into bliss. This is verily
the state of Ahamkara, in which he feels an ecstaticthrill, regards himself as fortunate, gratified and an
object of sweet and tender love.
Bhoja considers ego as the main attribute of soul,
which binds all human beings with this world. No
one can feel happy if his ego is not satisfied. We
love those who love us. Ultimately we come to love
ourselves. So, Bhoja claims the erotic to be the
basic Rasa and declares that poetry is beautiful
only because of the erotic.
Union oriented Sringara takes place when two
lovers enjoy the company of each other.
Separation oriented Sringara takes place when two
lovers are separated from each other due to some
cause or situation. It is also called Viparlambha.Viparlambha is further divided into four parts -
Puravaraga, Mana, Pravasa and Karuna.
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The situation of hero and heroine inclining towards
each other before actual union is called Puravaraga(predisposition). So, Puravaraga is love before
union. This is generated by looking a person to be
loved in picture, dream or hearing about him/her
from others.
Mana (anger in love) means anger or displeasure,
generated by exceeding love or jealousy. In this
situation lover and beloved stay at the same place,
but there is an absence of exchange of kisses,
embrace etc. It is further divided into two categories
Pranaya Mana and Irshya Mana. Pranaya Mana is
the situation when a sort of anger develops between
the two lovers sometimes without any solid reason
and Irshya Mana is the situation of doubt,
suspicion or jealousy among each other may be due
to presence of another person male or female
between them.
Third category of Viparalamba is Pravasa (sepration
due to travel) or person (Nayaka) being abroad.
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Departure may be occurred by business, by curse
or by some fear etc.
Fourth category is called Karuna (separation
causing grief). This happens when one of the lovers
has died and hope of re-union declines.
So, Bharata has minutely described almost all
aspects of love between male and female through a
detailed discussion based on different examples
from ancient Indian literature. Not only this, he has
presented Sringar Rasa as the prominent Rasa
among all other Rasas present in his eight Rasa
division. After Bharata Muni many other Indian
scholars like Vishav Nath, Bhoja, Bhanu Dat
Mishar, Abhinav Gupat, Pandit Raj Jagan Nath,
Manmat etc. have also accepted the importance of
Sringar Rasa as compared to the others. It has
further been accepted that other permanent moods
like humor, wrath, terror may vary in ratio or may
not be present in all human beings, but Rati or love
is a universal feeling or emotion that is always
present in all the persons.
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COMMENTARIES ON RASA
Rasa--roughly translated: "as emotive aesthetics" -
is one of the most important concepts in classical
Indian aesthetics, having pervasive influence in
theories of painting, sculpture, dance, poetry, and
drama. Rasa theory argues that the presentation of
emotions is the proper object and domain of poetic
discourse. Bharata in Natyashastrahis pioneering
work on Indian dramatics mentions eight rasas and
says Rasa is produced when Vibhaava,
Anubhava and Vyabhichari bhavacome together.
Abhinavabharatia commentary on Bharata's
Natyasastra talks about these scholars and
comments on their theories. Bhatta Lollata believed
art to be an imitation of reality. His views were
contested by Sri Sankuka who stated that art
cannot be an imitation simply because it exists in a
different place and time. Further he explained his
point of view by giving the analogy of a pictorial
horse (chitaraturaganyaya). He says when one sees
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a horse painted one doesnt mistake it for the
original horse but one sees it as the representationof the original horse and thus derives the aesthetic
pleasure through this identification. Since art
cannot imitate all the qualities of the original
subject hence it is just an inference and not an
imitation. BhattaTauta, Abhinavagupta's teacher,
raised a valid question regarding the imitation of
the mental state.
According to him there is no way an actor can feel
and react in exactly the same way as the original
character. The actor presents his feelings i.e. how
he would react if put in the original characters
position. Hence art cannot be inferred but depends
on the imagination of the spectator.
Abhinavagupta though agrees to many of the
suggestions put forward by Rasa theory also points
at its various limitations. According to him art is
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not just about evoking certain feelings but a real
work of art in addition to possessing emotive chargeneeds to have a strong sense of suggestion and
capacity to produce various meanings. This is
where he refers to Dhvanivada. He says that for a
work of art it is not enough to be
having abhida (literal meaning)
and laksana (metaphorical meaning) but it should
also possess Vyanjanathe suggested meaning
which has absolutely nothing to do with the other
two levels of meaning. Thus an aesthetic experience
cannot be experienced like any ordinary mundane
experience. A true aesthetic object does not simply
stimulate the senses but also stimulates the
imagination of the spectator. Once the imagination
is stimulated the spectator aesthete gets
transported to a world of his own creation. This
emotion deindividualises an individual by freeing
him from those elements which constitute
individuality such as place, time etc. and raises
him to the level of universal. Thus art is
otherworldly or Alaukika in its nature.
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One of the major passage in which he dwells on
alaukikatva is:
When a man hears the words: A son is born to you
joy is produced (through the power of denotation -
abhida). But the suggested sense (rasa and the like)
is not produced the way joy is produced in the above
case. Nor does it come about through the secondary
usage (laksana, gunavrtti, bhakti). But it arises in a
sensitive man (sahrdaya - a man who is sensitive to
literature) through his knowledge of vibhavas and
anubhava, because of his hrdaya-samvada
(sympathetic response) and his tanmayibhava
(identification). It is vilaksana (different) from
ordinary awareness of happiness etc. and it is not
an objective thing Dhvaynalokalocana,
In this passage he points out clearly that the
vibhavas do not correspond to any karana (reason)
in case of art like they do in everyday life. Theymake the relish of Rasa possible and hence exist at
a different plane altogether.
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Abhinavagupta turned his attention away from the
linguistic and related abstractions which hadpreoccupied even Anandavardhana, focussing his
attention instead on the human mind, specifically
the mind of the reader or viewer of a literary work.
The first step in Abhinavagupta's project involved
the recognition that the theory of rasadhvani, could
not be understood as a theory of abstract linguistic
structure. Rather, it only made sense as a theory of
the way people respond to literature. In other
words, rasadhvani had to be conceived in
psychological terms. According to this system the
reader becomes the central focus of literary
criticism. The aim of kavya is to give pleasure, but
this pleasure must not bind the soul to the body.
According to him the pleasure one derives out of a
real work of art is no less than divine pleasure. As
one has to constantly struggle and detach oneself
to reach the Almighty similarly a true connoisseur
of arts has to learn to detach the work from its
surroundings and happenings and view it
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independently, e.g. the feeling that might bring pain
in real life is capable of causing pleasure in an artform. The great success of Greek tragedies can be
attributed to the pleasure it aroused in the
spectators and brought about the emotional
Catharsis (purging out).
In his Dhvanyaloka Anandavardhana observes: In
the province of poetry (creative literature) obviously
standards of truth and falsity have no relevance.
Any attempt to find out or discover whether a poem
(or any literary composition) is true or false by
employing means of valid cognition leads to ridicule
alone Abhinavagupta comments on it: Such a
person will be ridiculed as follows: He is not able or
competent to appreciate aesthetic experience or his
mind has become (truly) hard by indulging in dry
logic.
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Thus he asserts that the willful suspension of
disbelief is a prerequisite for enjoying any art form.The moment one starts questioning it or doubting it
and looking at it objectively it loses its charm and
status and becomes equivalent to any mundane
object. One enjoys a play only when one can
identify the character as the character from the
drama and not as ones friend or associate. For the
time that the drama goes on the character should
take over the actor in a spectators mind i.e. the
spectator should rise above the worldly connections
and try to experience the supernatural aspect of art
which has nothing to do with the worldly concerns.
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SRANGADEVAS SANGITA RATNAKAR
ON RASA
GLANCES
Glances expressing Rasa should be looked upon as
eight in number: Kanta, Hasya, Karuna, Raudra,
Vira, Bhayanaka, Bibhatsa, and Adbbhuta.
The eight glances produced by the Sthayibhavas
(Permanent Moods), when they have not become
transitory, are known as Sthayi glances: Snigdha,
Hrsta, Dina, Kruddha, Drpta, Bhayanvita,Jugupsita, and Vismita.
The glances relating to the Vyabhicaribhavas
(Transitory Moods) are twenty in number: Sunya,
Malina, Sranta, Lajjita, Sankita, Mukula,
Ardhmukula, Glana, Jihma, Kuncita, Vitarkita,Abhitapta, Visanna, Lalita, Akekara, Vikosa,
Vibhranta, Vipluta, Trasta, and Madira. All these
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glances, added together, are accepted to be thirty-
six.
GLANCES EXPRESSING RASA
Kanta
The Kanta glance is that which seems to drink in
its object, is open, and extremely clear. It is
accompanied by movements of the brows and
Kataksa, and excites the passion of love.
Those well versed in the arts say that Kataksa is
moving the pupils here and there and letting them
come to rest in a variety of charming ways.
Hasya
In the Hasya glance, the pupils are drawn slightly
inwards and move in various ways; the eyelids are
slightly contracted, at first slowly, later moderately,
and then quickly. It is recommended for indicating
the feeling of astonishment.
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Karuna
The Karuna glance is said to be that in which the
upper eyelids droop down, tears fall, the pupils are
dull with sorrow, and the eyes are directed solely
towards the tip of the nose.
Raudra
The Raudra glance is said to have tremulous
eyelids, motionless pupils, and intensely red and
severe eyes. It is terrible with knitting of brows, and
cruel.
Vira
The Vira glance is described by the wise as that
which is steady, open, and majestic. It has even
pupils, is bright, and narrowed at the corners. This
glance indicates the eight varieties of feelings
associated with the Rasa: generosity, courage,
nobility, sweetness, delicacy, power, grace, and
sportfulness.
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Bhayanaka
The Bhayanaka glance is that in which the eyelids
are stretched and turned upwards, while the pupils
quiver and are turned upwards. It is employed to
indicate running away in fear from the object seen.
Bibhatsa
Bibhatsa is that in which the eyelashes tremble and
meet, the pupils are agitated, the eyelids lowered,
and the glance rests at the sides out of disgust at
the object seen.
Adbhuta
The Adbhuta glance is clear, with the pupils moving
inwards and outwards in relation to the bright
white of the eye, the tips of the eyelashes slightly
lowered, and the outer ends of the eyes open.
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GLANCES EXPRESSING PERMANENT
MOODS
A glance expressive of Rasa becomes a glance
expressive of Bhava when the feeling is not strong
enough.
Snigdha
The glance known as Snigdha is open, lovely, and
sweet, with charming eyebrows. It is characterized
by Kataksa and is full of eagerness. Kirtdhara and
others say that one brow should be gently raised
upwards in this glance.
Hrsta
The Hrsta glance is spoken of as having full cheeks
and pupils which move inwards. It is slightly
lowered, moving, winking, and accompanying a
smiling countenance.
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Dina
The glance which has half-closed upper eyelids and
slightly restricted [movements of the] pupils, has
tears, and is dull in movement, is considered to be
Dina.
Kruddha
It is said that the Kruddha glance has motionless
and raised eyelids, and is fierce, with slightly
tremulous pupils and crookedly knit eyebrows.
Drpta
The Drpta glance expresses fortitude, and is open
and steady.
Bhayanvita
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The Bhayanvita glance is that in which the eyeballs
seem to leave their sockets, the lids are wide openowing to the feeling of fear, and the pupils agitated.
Jugupsita
The Jugupsita glance is said to have indistinct
vision, contracted eyelids, and pupils which are
hidden. It expresses revulsion at the object seen.
Vismita
The Vismita glance is considered to be expansive,
with the two eyelids wide open, and the pupils
turned upwards, motionless.
These glances along with the Transitory Moods
expressing glances have been enumerated by as an
illustration. The glances are innumerable,
depending on the combination of the actions of the
brows, pupils, and lids. Even the Creator Brahma is
not capable of describing each one of these glances.
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FACIAL COLOUR
The colour of the face explains the states of the
mind which are expressions of the Rasas; hence, as
it is useful in the expression of the Rasas.
The colour of the face is of four kinds:
1.
Svabhavika - natural
2.Prasanna - clear
3.Rakta - red
4.Syama - dark.
Svabhavika
Of these, Svabhavika (natural) is true to its name,
and is prescribed by the wise for portraying
unexcited moods.
Prasanna
Prasanna is the clear colour which is used in the
Comic (Hasya), Erotic (Srngara), and Marvellous
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(Adbhuta) Rasas.
Rakta
Rakta is the colour red. It is used in the Pathetic
(Karuna), Furious (Raudra), Heroic (Vira), and
Marvellous (Adbhuta) Rasas.
Syama
Syama (dark) is true to its name. It is used in the
Odious (Bibhatsa) and Fearful (Bhayanaka) Rasas.
The gestures of the various limbs shine all the more
when combined with the proper colour of the face
just as the quarters shine with the moon at night.
Just as in the representation of the Rasas and the
Bhavas, the movements of the eyes change every
second, so also the proper colour of the face should
be produced to suit each Rasa.
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For the colour change to be as quick and swift as
the change in mood, the actor/dancer needs to beable to bring a change through their own self and
cant reply on external sources of help. The
performer should try to connect with the character,
event, and or situation which he/she wish to
convey to the audience. In true essence they should
try to come as close as possible to performing
Sattvika Abhinaya.
THE NINE SENTIMENTS (RASAS)
The wise desire this triple symphony: song, dance
and instrumental music, to be prominent in Rasas.
Produced by the Determinants or causes
(Vibhavas), Consequents or results (Anubhavas),
and Transitory Moods (Vyabhicaribhavas) that
reside in the actor, without having as basis oneself,
another, a friend, an enemy, etc., and free from any
distinction due to the distinctions of nature, place,
and time; receptive only to the pure Sthayibhava
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(Permanent Mood) such as Love (Rati), Laughter
(Hasa), etc., and therefore, owing to the lack of anyimpediment, founded on complete peace; different
from intuition, sensation, recollection, and other
kinds of knowledge; dissimilar to the knowledge of
Brahman in being based on various Permanent
Moods like Rati; blissful, self-revealing knowledge
called enjoyment; that is Rasa. Or Rasa is the
Permanent Mood when it is revealed through
enjoyment.
There are nine accepted Rasas: the Erotic
(Srngara), the Comic (Hasya), the Pathetic (Karuna),
the Furious (Raudra), the Heroic (Vira), the Fearful
(Bhayanaka), the Odious (Bibhatsa), the Marvellous
(Adbhuta), and the Tranquil (Santa).
Since the Tranquil sentiment can be effected only
by Quietude (Sama), and since that cannot exist in
the actor, there can be only eight Rasas in dramas
so say some people. That question cannot be
raised, however, for the actor does not enjoy any
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Rasa. The audience tastes the Rasa; the actor is
recognized as the vessel, out of which they taste it.It is but reasonable that those clean-hearted
people, who are concentrated of mind, enjoy the
Tranquil sentiment produced by its own
Determinants (Vibhavas).
Love (Rati), Laughter (Hasa), Sorrow (Soka), Anger
(Krodha), Energy (Utsaha), Fear (Bhaya), Disgust
(Jugupsa), Astonishment (Vismaya), and
Detachment (Nirveda) these nine are the
Permanent Moods.
Some people have said that Disgust (Jugupsa) is
the Permanent Mood in the case of Tranquil
sentiment. Some say it is Enthusiasm (Utsaha),
others say that it is Quietude (Sama), and yet
others say that all these together form the
Permanent Mood of the Tranquil sentiment
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THE TEMPERAMENTAL STATES
(SATTVIKABHAVAS)
When, by these Permanent moods like Love
explained before, consciousness is modified, that
modified consciousness identifies itself with the
soul (prana); and that soul makes the body its own;
then the modifications in the body like Stupefaction
are produced.
In this way, produced by the Determinants
connected with Love, etc., which are being relished,
and indicated by Consequences such as
Stupefaction occurring in the body, these internalstates shine forth in the soul on which
consciousness has been super-imposed. They are
called Sattvikabhavas, since they shine forth in
sattva, or the vital breath.
Or, Sattva can be the Sattva Guna explained in
Samkhya philosophy; or it means goodness. Here
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goodness is accepted to be purity of body and soul.
Here Sattvikabhavas are accepted by good people tobe Moods (Bhavas) existing in Sattva.
The vital breath (prana) depends on each of the
other four elements, beginning with earth, as the
prominent factor. Sometimes the vital breath itself
becomes the prominent element and moves in the
body. When it depends on the earth element, then
the state of Stupefaction (Stambha) is indicated.
From the vital breath based on the water element
come tears (Asru); and from that based on the fire
element come Change of Colour (Vaivarnya) and
Perspiration (Sveda). From that based on Ether(Akasa) is produced Unconsciousness (Pralaya).
When independent, it [vital breath] indicates
Horripilation (Romanca), Trembling (Vepathu), and
Change of Voice (Svarabheda) respectively,
depending on whether it the vital breath is weak,
medium, or strong.
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The external Stupefaction, etc., in the body are
easily produced in the case of ordinary people whoconsider the body to be the same as the soul; but
they are not easily produced in the case of the great
who have no such misconception.
Thus three kinds of Moods or States, Bhavas are
given: the Permanent Mood, The Transitory Mood,
and the Temperamental State. All the eight
Temperamental States can appear in any one of the
sentiments. In a drama, one sentiment must always
be made the Permanent one among the sentiments;
other Rasas the Bhavas are meant here are only
Transitory States; since they follow the mainsentiment. Among them, conflicting sentiments
must be delineated as existing in different persons.
The varied arrangement of the sentiments in a
drama must be like the arrangement of flowers [in a
garland]. The permanent Rasa takes the place of
the thread [in the garland]. This is the view of those
who know the sentiments.
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SRNGARARASA RAJ
From the above articles, we have been able to see
that Srngara Rasa or the Erotic Sentitment has
been considered as the most important sentiment
or Rasa by all the scholars over the centuries. As
mentioned in Bharatas Natya Sastra there are four
main Rasas from which the other four have been
derived and together they form the eight Rasas orAshta Rasa.
Of these eight Rasas scholars are of the opinion
that Srngara is the most important Rasa of all.
Hence giving it the title, Srngara Rasa Rasa Raj
or Rasapati.
Even though the Sthayi Bhava of the Rasa is Rati
or love, its eventual aim is Nirvana. It is the closet
to the bliss of self. It helps people achieve the
concept of jiva atma merging with the param atma
(Atma ka Paramatma se Milan).
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It is believed that everybody experiences love or
Srngara once in their lifetime atleast. Toconcentrate on Love and Beauty is to worship the
divinity of creation. It is believed that creation only
happened for the enjoyment of love, with Shiva and
Shakti. This makes Srngara the very purpose of the
universe.
Since Srngara is considered the Rasa Raj, we shall
now try to see how does the Erotic Sentiments
affect the other Sentiments.
As already mentioned in the Natya Sastra, Hasya
Rasa has been derived from Srngara Rasa itself.
Sanyoga Srngara which shows lovers in union can
be taken as an example to explain the Hasya Rasa.
Krishna with his childish pranks would trouble the
Gopis of Vrindavan, he would sing and dance with
them. All these would lead to the Hasya Rasa.
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The Karuna Rasa or Sorrow can again be related to
Srngara. The easiest way would be to show it withrespect to Viyoga a Srngara, but the Karuna Rasa
has no deep rooted feelings making it difficult to
equate the two. However, we can establish that
sorrow is only felt for a person or object when there
are some feelings involved. The feeling may not
necessarily be that of love, it may be care and
concern, but all these feelings stem from the deeply
rooted sentiment of Srngara. When Sita was
abducted by Ravana, the sorrow felt by both Ram
and Sita stems from their love for each other.
The Raudra Rasa or Anger sentiment may also be
related to Srngara Rasa. The best example to
explain this is the anger that erupted from within
Lord Shiva when his wife Sati jumped into the fire
and gave up her life. This anger stemed from the
deep rooted love that he had for her.
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The Vira Rasa can be seen from Ramanayana,
when Rama builds the Setu bridge with the help ofthe vanar sena in order to go and rescue his
beloved wife.
The Bibhatsa Rasa can be explained with the help
of an incident from the Mahabharata. When
Dusshana pulled Draupadi by her hair and
insulted her Bhima in his anger vowed to kill him
and drink his blood. This vow was fulled filled
during the war of kurukshetra. Only his love for
Draupadi, made Bhima commit such a horrendous
act.
So, considering the impotence of Rati or love some
scholars have declared Sringar Rasa in which all
other Rasas like Hasya, Adbhuta, Vira can easily
merge. Bhoja has discussed Sringar Rasa in his
famous work Sringar Parkasha assigning theutmost importance to Sringar Rasa and declaring
Sringar Rasa as the most significant and
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widespread concept to analyse human behavior and
psychology in different conditions andcircumstances. The concept of Sringar Rasa
provides an approach or way to observe and
analyse almost all unexplored dimensions of
human erotic behavior in different situations of
mutual enjoyment, pleasure, union and separation.
Sringar Rasa presents, Rati or love or the erotic as
the most important driving force of human act and
conduct in life, which has a power to control or
alter the priorities of a person`s life. In this way,
through Sringar Rasa the human erotic behavior
and its impact on life can be aesthetically observed
and evaluated.
In the following section of the project we will focus
on Rasa Sutra, paying special attention to Viyoga
Srngara. To explain Rasa Sutra with respect to
Viyoga Srngara, we will make use of the dance item
Varnam. The Varnam being used in particular is
set to Raag Shankara Bharnam and Taal Aadi.
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Varnam
This is the item where the dancers are tested for
their capacity to perform both abinaya and nrutta.
This can be treated as a benchmark to judge the
artist's talent. The item will contain many complex
steps and will have lot of room for expressions also.
To perform this item one should have lot of stamina
and concentration.
The main item of the Bharatanatyam recital is
the varnam, which reveals in full the abstract and
expressive aspects of the dance, and builds on the
rhythmic, melodic, as well as lyrical aspects of the
music. The dance alternates between passages
of nruttaand nrutya, balancing pure dance and
expressive dance, and combining both in the final
movements. The dancer interprets the music and
poetry with great elaboration in
both nruttaand nrutyapassages.
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A typical structure of a varnam included 2 pallavis,
2 anupallavis, muktaisvaram and its sahitya,charman sahitya, chittasvarams and their sahityas.
The Nayika is a Virahotkanthita Nayika based on
avastha, according to age she is a Madhyama and
according to age she is an Uttama Nayika.
Virahotkanthita
The item narrates the various stages of Viyoga
Shringara.
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Viyoga Srngara has been described as having ten
stages. The Nayika goes through these ten stages as
she suffers the pangs of separation from her
beloved. The Nayika may not necessarily go through
all the stages explained in the shloka but these are
the generic guidelines. The ten stages of Viyoga
Srngara are:
1.AbhilashaLonging
2.ChintanamRemembrance
3.AnusmrutiRecollection
4.GunakirtanamPraising
5.
UdvegahDistress
6.VilaapLamentation
7.UnmadaInsanity
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8.VyadhiSickness
9.
JadataStupor10. MaranamDeath
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In the first Pallavi of the Varnam, the Nayika is
describing her beloveds looks to her friend. Shetalks about his good looks and charm and the fact
that he is extremely handsome to look at. Initially
shabdarth is used to convey the meaning which is
later followed up by using bhavarth to lay further
emphasis on the concept of his looks.
The Nayika is mesmerized by his looks and
continues to compare his looks and expresses it to
her friend. She compares his face to the beautiful
full bright moon, his hair is black and curly like a
bee, his cheeks are very well contoured and she
compares his voice to the conch, having a deep
voice.
As already established the Rasa is Srngara, which
makes the Sthayi Bhava Rati. The sanchari bhavas
which can be attributed to this are recollection,
contentment, joy, pride. The bhava being convey is
love and happiness. The vibhava is the Nayaka
himself. The Nayika wants to be with her beloved
and that is the main reason. The anubhava is the
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way she is describing her beloved to her friend. The
Angika Abhinaya used will be the anubhava. Theglances used are Kanta and Snigdha. The dancer
also needs to make use of side long glances to bring
out the love and slight coyness.
The entire sentiment or motivation behind the
development of the srngara rasa in varnam can be
attributed to Devadasis. They were the first people
to make use and fully develop the Srngara Rasa
and incorporate it in their art form. Srngara Rasa
was considered very important as it brought out the
main aim of performing which was the bhakti
bhava and the only objective was to merge with the
supreme power of the universe.
Although, the portrayal of the Srngara Rasa was
initially was extremely erotic, with the advent of
Rukmani Devi, she mellowed down the extreme
form and moved it more towards the bhakti bhava
or spirituality.
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Another important person who made sure to
continue the use and promotion of the SrngaraRasa was Balasaraswati. She was the last Devedasi.
She embraced the Srngara Rasa and was doing all
she could to bring out this beautiful Rasa and
revive it from its fallen status as a taboo.
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In the second Pallaviof the Varnam, the Nayika is
talking to her friend and telling her that the currentseparation from her beloved is very difficult for her
to bear.
In the bhavarth, she tells her friend that even
though the nights are nice and pleasant with the
soothing rays of the moon, these same rays are
causing her heart to feel very anxious, the early soft
early morning rays of the sun are piercing her heart
like the serpants bite, the sweet and melodious
sound of the cuckoos and birds are unbearable and
the gentle sound of the waves is hitting her heart
and causing restlessness which is all unbearable as
all these only make her heart desire her beloved
more and remind her of him.
The main vibhava is still separation from the
Nayaka. However, the udipana vibhava are the
natual surroundings which remind her more of the
fact that her beloved is not with her. The
anubhavas are the changes in the facial
expressions. The Nayikas expressions move more
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towards feeling grief and helplessness. The
sanchari bhavas used here are depression, anxiety,distraction, inconstancy and agitation, despair,
impatience.
The eyebrows are slightly raised. The pupils are
semi closed like in Karuna and Dina drushti. There
is restlessness visible in the body. The dancer
needs to bring ia change in her body language to
get her restlessness across to the audience.
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In thefirst Anupallaviof the Varnam, the Nayika
now talks about the greatness of her beloved. Shenow goes on to tell her friend that her beloved is
king of this whole wide land. He is the descendant
of the great Suryavanshi clan and has built the
great Setu Bridge. There is nobody else like him on
this earth.
The anubhavas in this case are the changes in the
facial expression to show pride or virata. The body
is upright, shoulders are pulled by and stance is
tall and erect. The sanchari bhavas used here are
virta, contentment, joy, pride.
The eyebrows are slightly raised but normal. The
eyes are wide open and the glances are straight.
The glance used is drpta. There is a firm and
slightly arrogant smile on the face.
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In the second Anupallavi of the Varnam, the
Nayika is seen expressing to her friend that it is herhearts deepest desire to be able to embrace and
hold her beloved and it has to be done at his very
moment as it is the perfect time and setting.
The anubhavas in this case are a soft sweet smile, a
slight blush on the cheeks. The body is very
relaxed. The sanchari bhavas used here are
inconstancy, joy, dreaminess.
The glances used are kanta and snigdha. The head
is slightly bent. The dancer needs to make graceful
body movements which are soft. She can also make
use of side long glances.
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In the Muktai swaram sahityaof the Varnam, the
Nayika is tells her friend that the flowery arrows ofManmatha are piercing her heart and causing
agitation in her. She then goes on to describe her
beloved who is an expert lover and who is also very
wealthy and owns many elephants and chariots, he
is also learned in the varied art forms of warfare as
well as scriptures and music. She then moves on to
describe him as being gentle, caring, large hearted,
a great king to the throne and then expresses her
desire to have him next to her.
There are varied anubhavas that take place here.
The Nayika goes from lamentation and distress to
praising her beloved and feeling pride. The dancers
body language and facial expression change from
expressing despair and lamentation to showing
happiness, joy, pride and contentment. The
sanchari bhavas used are discouragement, anxiety,
recollection, contentment, despair dreaming,
sorrow, astonishment.
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The glances used include vira, drpta, karuna,
drpta, hrsta and vismita.
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In the Charnamof the Varnam, the Nayika is seen
telling her friend that she is no longer able to bearthe separation from her beloved, her heart is no
longer in her control.
The anubhavas in this case changes in the face by
showing despair and insanity. The body language
also changes to accommodate the change in the
mood.
The sanchari bhavas used here are weakness,
weariness, anxiety, impatience, insanity.
The eyebrows are tensed in kunchita. The eyes aresemi shut and the glances are down. The glance
used is dina and karuna. There is helplessness on
the face and body.
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In thefirst and second Chitaswaram sahityaof
the Varnam, the Nayika tells her friend that sheshould not have to take this separation from her
beloved, the time is just right for her to be in the
bedroom with her beloved to she can kiss him and
make love to him.
The anubhavas in this case are a slightly dropped
and relaxed body but in a semi happy state at the
thought of being with her beloved. The sanchari
bhavas used here are adbhuta, shame,
inconstancy, joy, dreaminess, insanity.
The eyes are looking downwards, head is bentslightly. The glances used are dina, snigdha, kanta.
There is a slight blush and coyness in the dancer.
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In the third and fourth Chitaswaram sahityaof
the Varnam, the Nayika is again talking about herbeloved. She now decribes the great deeds done by
her beloved, his rich lineage and tells her friend
that in the whole universe she only loves and only
have her eyes set for him.
The anubhavas in this case are a happy and
relaxed body. There is a slight excitement in the
body language and facial expression.
The sanchari bhavas used here are adbhuta, joy,
dreaminess, hasya, contentment, stupor.
The eyes are looking straight.The glances used are
hrsta, snigdha, kanta. There is a slight blush,
happiness and coyness in the dancer.
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CONCLUSION
From the above we can see that Srngara is an
extremely important aspect of the Rasas. It has
been rightly identified as Rasapati or the king of all
rasas. It has been observed that the devadasi did
their best to save the main essence while depicting
and executing the dance form.
It can be said, that rasotpatti is a very important
aspect while presenting any art from. From the
above it that has been observed in Varnam that
every aspect of dance has some form of
development and excecution of rasa.
The final goal of any dance form is to move from the
Angika abhinaya aspect to Sattvika abhinaya. The
final goal of any dancer is to be able to reach a
stage where they are able to perform Sattvika
abhinaya which comes directly from the heart. The
reason for this is to unite with the paramatma and
attain salvation.
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By understanding the application of the rasa sutra
in the practical aspects of dance or for that matterany other art form, it gives the performer a
framework on which he/she can develop their
performance which will enhance the experience for
the performer as well as the audience. Even though
a framework or guideline has been provided for the
use and execution of rasa, it is not necessary for
the performer to only use the given options of
bhavas and other elements that in total comprise of
the rasa sutra.
A clear understanding, gives the performer limitless
options to experiment with a wide variety of ways to
bring out the true essence of the rasa and bhava
they wish to showcase.
Experiencing Rasa in varied ways using the same
tools available is what makes it a highly soughtafter experience.
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REFERENCES
1.
Article by Prof. P.C. Jain and Dr Daljeet
2.SHALL WE KNOW Natya : by LAKSHMI
RAMASWAMY
3.Bharatanatyam by Manjula Lusti Narasimhan
4.The Yoga of the Nine Emotions: The Tantric
Practice of Rasa Sadhana By Peter Marchand
5.
Natyasastra by Manomohan Ghosh6.The Natyasastra by Aday Rangacharya
7.Natyasastra by Dr. Unni
8.Theory and Practice of Aangikabhinaya by Dr.
Sandhya Purecha
www.inter-disciplinary.net
www.ikashmir.net
www.wikipedia.org
http://www.inter-disciplinary.net/http://www.inter-disciplinary.net/http://www.ikashmir.net/http://www.ikashmir.net/http://www.wikipedia.org/http://www.wikipedia.org/http://www.wikipedia.org/http://www.ikashmir.net/http://www.inter-disciplinary.net/