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    Influence On Cinema: Performing Arts

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    Rasas are emotions inspired in an audience by a performer during Indian performing arts. There are eight main rasas described in the ancient text Natyasastra, each created by specific gestures and facial expressions of actors. The theory of rasas forms the aesthetic foundation of classical Indian dance and theater forms like Bharatanatyam and influences the cinema of India by conveying emotions to the audience differently than the Western acting method.

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    Influence On Cinema: Performing Arts

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    Marathi Calligraphy
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    Rasas are emotions inspired in an audience by a performer during Indian performing arts. There are eight main rasas described in the ancient text Natyasastra, each created by specific gestures and facial expressions of actors. The theory of rasas forms the aesthetic foundation of classical Indian dance and theater forms like Bharatanatyam and influences the cinema of India by conveying emotions to the audience differently than the Western acting method.

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    Rasas are emotions inspired in an audience by a performer during Indian performing arts. There are eight main rasas described in the ancient text Natyasastra, each created by specific gestures and facial expressions of actors. The theory of rasas forms the aesthetic foundation of classical Indian dance and theater forms like Bharatanatyam and influences the cinema of India by conveying emotions to the audience differently than the Western acting method.

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    Download as PDF, TXT or read online from Scribd
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    11 views1 page

    Influence On Cinema: Performing Arts

    Uploaded by

    Marathi Calligraphy
    Rasas are emotions inspired in an audience by a performer during Indian performing arts. There are eight main rasas described in the ancient text Natyasastra, each created by specific gestures and facial expressions of actors. The theory of rasas forms the aesthetic foundation of classical Indian dance and theater forms like Bharatanatyam and influences the cinema of India by conveying emotions to the audience differently than the Western acting method.

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    Performing Arts[edit]

    In the Indian performing arts, a rasa is an emotion inspired in an audience by a performer.


    They are described by Bharata Muni in the Ntyasstra, an ancient work of dramatic theory.
    Rasas are created by bhavas: the gestures and facial expressions of the
    actors.[3] Expressing Rasa in classical Indian dance form is referred to as Rasa-abhinaya.
    The Ntyasstra carefully delineates the bhavas used to create each rasa.
    The theory of rasas still forms the aesthetic underpinning of all Indian classical dance and
    theatre, such
    as Bharatanatyam, kathak, Kuchipudi, Odissi, Manipuri, Kudiyattam, Kathakali and others.
    The expressions used in Kudiyattam or Kathakali are extremely exaggerated theatrical
    expressions. The opposite of this interpretation is Balasaraswathi's school of subtle and
    understated abhinaya of the devadasis. There were serious public debates
    when Balasaraswathi condemned Rukmini Devi's puritanistic interpretations and applications
    of Sringara rasa. The abhinaya of the Melattur style of abhinaya remains extremely rich in
    variations of the emotions, while the Pandanallur style expressions are more limited in
    scope.
    Bhavas[edit]
    The Natyasastra identifies eight rasas with eight corresponding Bhava (mood):

    Rati (Love)
    Hasya (Mirth)
    Soka (Sorrow)
    Krodha (Anger)
    Utsaha (Energy)
    Bhaya (Terror)
    Jugupsa (Disgust)
    Vismaya (Astonishment)

    Influence on cinema[edit]
    Rasa has been an important influence on the cinema of India. The Rasa method of
    performance is one of the fundamental features that differentiate Indian cinema from that of
    the Western world. In the Rasa method, empathetic "emotions are conveyed by the
    performer and thus felt by the audience," in contrast to the Western Stanislavski
    methodwhere the actor must become "a living, breathing embodiment of a character" rather
    than "simply conveying emotion." The rasa method of performance is clearly apparent
    in Malayalam Cinema and internationally acclaimed parallel Bengali films directed by Satyajit
    Ray. The latter is indebted to the Rasa method of classical Sanskrit drama, in the sense that
    the complicated doctrine of Rasa "centers predominantly on feeling experienced not only by
    the characters but also conveyed in a certain artistic way to the spectator. The duality of this
    kind of a rasa imbrication" shows in The Apu Trilogy (19551959), which itself has had a
    large influence on world cinema.[4] In Hindi cinema, it is the theme of the film Naya Din Nayi
    Raat , where Sanjeev Kumar played nine characters corresponding to nine Rasa.

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