The Theory of Rasa

The Theory of Rasa

• 1.
  Theory of Rasa By Prof.R.R.Borse,  Asst.Prof. & Head,  B.P. Arts, S.M.A.Science & K.K.C.Commerce  College, Chalisgaon  [email protected]
• 2.
  With reference tothe drama “Shakuntala” Original Writer: Kalidas Presentation by Ravi Kumar University of Ottawa
• 3.
  Structure of Presentation Context of rasa theory  Structure of rasa theory  Rasa theory in Action  “Shakuntala”: Translation and Story Presentation”  Discussion & Conclusion  Audio –medial Clip
• 4.
  Context of rasatheory Rasa theory finds its root in late vedic period in Atharvaveda ( 200 BC-100 BC) Bharatmuni (First century AD approx.) gave major statement in his Book Natyashastra Natyashatra is Indian treatise on the performing arts, encompassing theatre, dance and music
• 5.
  Context of rasatheory Bharatmuni says “rasa is realization of one’s own consciousness as colored by emotions” “rasa and emotions cannot be expressed directly through words, their essence being immediate experience; so they can be only suggested by words”
• 6.
  Structure of rasatheory  The Rasa theory is built around the concept of bhava which is subdivided into vibhava (विभि), sthayibhava (स्थायी भाि), sancaribhava ( संकरी भाि), anubhava (अनुभि) and sattvikabhava (सात्विक भाि).  Bharata enumerates forty-nine bhavas - it is a claim about the range of human experience.
• 7.
  Structure of rasatheory
• 8.
  Structure of rasatheory  Rasa is an emotion experienced by the audience created by the facial expression or the Bhava of the actor. Our discussion will focus only on following sthayibhavas (स्थायी भाि). RASA BHAVA MEANING COLOUR Shringar(love) Rati Love/delight Pale Light Green Hasya (humorous) Hasa Laughter White Karuna (Pathetic/kindly) Shoka Sorrow Grey Raudra (furious) Krodh Anger Red Veera (heroic) Utsaha Heroism PaleOrange Bhayanaka (Fearful) Bhaya Fear Black Bibhatsa (Odious) Jugupsa Hate/disgust Blue Adbhuta (Wonderful) Vismaya Wonder Yellow Shanta (Peaceful) Shanta Peace White
• 9.
  Rasa theory andthe audience Audience Experts Poets Familiar with text/ context Buffons Singers Elders Patrons
• 10.
  Whereas feelings andemotions when aroused by linguistic means are conditioned responses, moods are not, and this is also a fundamental aspect of rasa; rasa is based on conditioned responses, but in itself is something higher: we may call it unconditional or cultivated response. Rasa can be experienced individually or collectively Rasa Representation of objects Natural situation Known characters/ artists Artists actions & their physical expressions of emotions Awakened Emotion Impersonal contemplative mood
• 11.
  Shakuntala and itstranslation – the continued life  Monier – Williams in 1855 ( colonial India)  Kale in 1898 – Colonial India  Chandra Rajan – Post –colonial India  Currently there will be more 200 popular versions of translation available in different languages.
• 12.
   Upon Dushyanta’srequests, the boy took him to Shakuntala.  Dushyanta meets Shakuntala and narrates about his memory loss.  He asked her to join him again and thus, the family gets reunited. Dominant Bhava: utsaha, vismaya shoka, rati, shanta Dominant Rasa:veera, adbhuta, karuna, shringar, shanta Audience gets heightened delight – the mixture of many rasas
• 13.
  Discussion and Conclusion Theanswer may be sought in Indian Drama and Indian Cinema where, a very careful approach is taken to arouse the feelings of the viewers and provide heightened experience through a story based on action, love, romance, separation and reunion supported by songs http://www.youtube.com/watch?v=HBx0BH77L3E
• 14.
  THANK YOU.