The dominant emotion or the sthayi bhava in karuna rasa is soka or sorrow. It is believed to have been written by the mythic brahman sage and priest bharata 1st century bce 3rd century ce its many chapters contain detailed treatments of all the diverse arts that are embodied in the. The natyashastra introduced the theory of bhava and rasa, so central to indian aesthetics. His natya shastra with its 36 chapters includes the writing of drama and its. Rasa is prepared, states natya shastra, through a creative synthesis and expression of vibhava determinants, anubhava consequents and vyabhicharibhava transitory states. Full text of natya shastra of bharata muni volume 1. In postvedic literature, the word generally connotes extract, essence, juice or tasty liquid. Karuna rasa is a very essential part of the natyashastra. Get an answer for in natyashastra by bharata muni, what are the main points or the summaries of the first, sixth, and seventh chapters. Though it is bharata who is credited with having originated the rasa theory it was abhinava upta who developed it into a systematic poetic principle. Bharata and his natyashastra natya was then taught by god brahma to the mythic sage bharata, who is said to have recorded this teaching in the natyashastra. The distinction between sentiment and emotional fervour 18. Abhinavaguptas analysis of natyasastra is notable for its extensive discussion of. Bharatas natya shastra karana means action and in the context of dance it indicates a coordinated action of the body, the hands and the feet.
About the book the harappan dancing girl sculpture shows, how old is the tradition of natya viz. This page uses content from wikipedia and is licensed under cc bysa. He presented rasa formula in context to natya in his natyasastra. In order to realize rasa that must possess an adequate degree of intellectual and emotional equipment. Natyashastra is a detailed compendium of technical instructions about the performing arts. Bhayanaka rasa or the terrible sentiment is one of the essential rasas in the natyashastra. Bharatas natyashastra is the oldest treatise on rasa theory. In natyashastra by bharata muni, what are the main. Natya was then taught by god brahma to the mythic sage bharata, who is said to have recorded this teaching in the natyashastra.
The very core of the sanskrit natya theory is the creation of rasa. Rasa theory shakuntala religion and belief religion. Expressing rasa in classical indian dance form is referred to as rasaabhinaya. Bharatas natyashastra some reflections sreenivasarao. The sthayi bhava of bhayanaka rasa is bhaya or fright. Natyashastra is a compilation of work by various sages but the tradition offers its. Natyashastra is an analytical text of dramatic performance that categorically characterizes fundamentals such as. Rasa theory draws a clear distinction between reallife experience and art experience unordinary. A study of the rasa theory as a cornerstone for indian aesthetics pp. Bharata was an ancient seer who wrote this masterly treatise in sanskrit over a thousand years ago. It was also intended as a guide to the poet and to the performer, alike. Pp25ff the reading of this passage seems to be confused. Rasa siddhanta is unique to indian aesthetics theory.
Rasa is an undefinable realization and intense feelings with detachment. Rasa theory in hindi english literature natya shastra youtube. Traditionally assigned to bharata muni, a legendary sage, natya shastra is one among the famous trio of india, the other two being kautalyas artha shastra and vatsyayanas kama shastra. According to the rasa theory of the natya shastra, entertainment is a desired effect of performance arts. Bharata muni was clear about what was acceptable as art. It was meant as a practical manual for production of successful theatrical performances, which included music and dance as well as acting. Natyashastra, literary tradition, performance arts, entertainment, rasa theory. According to bharata muni rasa is extracted from the other ten elements of drama.
Written in sanskritthe text consists of 6, sutras, or verse stanzas, organized in 35 or 36 chapters. It is the flavor general or aesthetic emotion metaphorical. The outcome of bhayanaka rasa is through the vibhavas or determinants such as vikrta rava or terrific noise, uarsana sight of apparitions, sivoluka trasodvega or the panic and worried state on hearing the cries of jackals and owls, sunyagara or the. No meaning can proceed from speech in the absence of rasa this proves the importance of rasa in the aesthetics and literary criticism of india. Natyashastra, in full bharata natyashastra, also called natyasastra, detailed treatise and handbook on dramatic art that deals with all aspects of classical sanskrit theatre. Rasa is an emotion experienced by the audience created by the facial expression or the bhava of the actor. Hence the theory of rasa has come to be interpreted differently in later times by lollata, sa. Shastra is the term accepted in indian tradition for the holy writ dedicated to a particular field of knowledge. The aitareya brahmana in chapter 6, for example, states.
Basically, the natyashastra documents the history behind the development of the arts in india. Bharata is a philosopher of kavyashastra literary science, his natyashastra is regarded as major text of indian kavyashastra. Natya shastra covers stagedesign, music, dance, makeup, and virtually every aspect of. It is also notable for its aesthetic rasa theory, which asserts that entertainment is a desired effect of performance arts but not the primary goal, and that the primary goal is. Bharata points out that the word or text is the basis of theatre. Rasa means aesthetics, juice, essence, taste in performance. G k bhatt m s university of baroda the natya sastra, of bharata muni by board of scholars bos chapter 6. He says only those arts that are worthy, are rasa vishesh. Full text of natya shastra of bharata muni volume 1 see other formats. In the indian performing arts, a rasa is an emotion inspired in an audience by a performer. Our discussion will focus only on following sthayibhavas. The last one is probably is the nearest equivalent to western spoken theatre. Dhvani and rasa rasa theory and dhvani theory are the most important poetic theories of ancient india. Bharata enumerates fortynine bhavas it is a claim about the range of human experience.
Theory of rasa the aesthetic pleasure of hindu theatre is determined by how successful the artist in expressing a particular emotion evoking the rasa encyclopaedia britannica. Although natyasastra is a work on dance, drama and music, yet in the present context of poetics, it. This online edition contains the full english translation of the natyashastra including additional notes, proofread and free to read. In rigveda, it connotes a liquid, an extract and flavor. The term shastra sastra denotes a specific category of literature and the word natya na. The natyashastra is the oldest surviving ancient indian. The rasa theory has a dedicated section chapter 6 in the sanskrit text natya shastra, an ancient scripture from the 1st millenium bce attributed to bharata. They are described by bharata muni in the natyasastra, an ancient work of dramatic theory.
The rasa theory of natyashastra, states daniel meyerdinkgrafe, presumes that bliss is intrinsic and innate in man, it exists in oneself, that manifests non. Bharata, the first exponent of rasa theory, is the well known author of natya. The natyashastra is probably the worlds largest and most comprehensive theatre and. Written by bharatha muni sometime between 200 bc to 200 ad. The realization of rasa is the result of the union of sthaibhavas, vibhavas, anubhavas, and vyabhikaribhavas. And so there is sufficient nagya to surmise that bharata lived about bce or even earlier. In modern usage, this word does not include dance or music, but in sanskrit, the term natya refers to the troika of drama, dance and music. Rasa is an emotion and cannot be described in opposition to aristotle. The rasa theory of natyashastra, states daniel meyerdinkgrafe, presumes. With such a rich legacy of dance, drama and music, india has given various great scriptures of this tradition to the world. Natyashastra may be loosely translated as compendium of theatremanual of dramatic arts. The vibhavas or determinants of karuna rasa are curse, distress, down fall, calamity, and separation from the near and dear ones, loss of wealth, murder, imprisonment, flight, dangerous accidents and misfortunes.
Existence of natyashastra the indian dramatic art is called natya in natyashastra. It had a profound effect on most of the traditional art forms of india. The origin of the book is thus shrouded in mythology, but the work itself is indeed living reality. The rasa theory has been discussed above only in simplified outlines. According to bharata, nahi rasadate kascidapyarthah pravartate. Bharata muni enunciated the eight rasas in the natyasastra, an ancient sanskrit text of dramatic theory. Rasa theory was mentioned in chapter six of natyashastra written by a hermit known as bharata muni.
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