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    IKS Rasa Shastra

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    IKS Rasa Shastra

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    48 views18 pages

    IKS Rasa Shastra

    Uploaded by

    contactsachinjorwal

    Copyright:

    © All Rights Reserved
    Download as PPTX, PDF, TXT or read online from Scribd
    Download as pptx, pdf, or txt
    of 18

    INDIAN INSTITUTE OF TECHNOLOGY ROORKEE

    Prof. Sachin Jorwal


    Department of HSI

    NATYASHASTRA
    RASASHASTRA
    Natyashastra (नाट्यशास्त्र)

    • Probably the world’s largest and most comprehensive theatre


    and dance manual
    • The Natyashastra consists of 36 chapters
    – Chapters 1–5: Outer and spatial aspects, such as the stage, the theatre building
    – Chapters 6–7: Theory of rasa
    – Chapters 8–13: Focus on the physical acting technique
    – Chapters 14–19: The verbal aspect, such as speech and sound, is dealt with in
    – Chapters 20–21: Discuss the types and structure of drama
    – Chapters 22–26: The outer aspects of acting, such as the costume and the make-
    up types
    – Chapters 28–33: focus on music
    – Final chapters: Question of the divine origin of the art of the theatre

    2
    Natyashastra (नाट्यशास्त्र)

    • Author of Natyashastra
    – Bharat Gupt states that the text stylistically shows characteristics of a
    single compiler in the existing version
    – Taught by God Brahma to the mythic sage Bharata
    – Fictious person
    • Bha referring to the bhava or mood, Ra referring to the raga or type of
    melody, and Ta referring to the tala or rhythm
    – Abhinavgupta wrote one of most famous commentaries on Natyashastra

    • Fifth Veda
    – Could be understood by everyone
    – Accessible to all the castes

    3
    Sutra (सूत्र)
    अल्पाक्षरम् असन्दिग्धम् सारवद् विश्वतो मुखम् अस्तोभम् अनवद्यम् च सूत्रविदो विदुः

     अल्पाक्षरम् (alpaksharam) : Brief


     असन्दिग्धम् (asandigdham) : non-confusing
     सारवद् (sarvad) : meaningful
     विश्वतो मुखम् (vishwato mukham) : that has multiple applications
     अस्तोभम् (astobham) : without hindrances; one complete thought
     अनवद्यम् (anavadyam) : flawless
     च (ch) : and
     सूत्रविदो (sutravido) : people who know Sutra
     विदुः (viduh) : have known . .

     According to the knowers of Sutra, the Sutra composition essentially should


    be precise, not giving rise to any doubt, presenting the essence of many
    thoughts, coherent and blemishless.
    4
    Natya

    • What is a Natya
    – Natya is the imitation of life (lokanukriti)
    – Various human emotions have to be dramatically glorified
    (bhavanukirtanam)
    – Portrayal of pleasure and pain (lokasya sukhadukkha) as Natyarasa is
    the primary objective
    • Every dramatic presentation is aimed at evoking in the minds
    of the audience a particular kind of aesthetic experience, which
    is described as Rasa
    • The Rasa experience will entertain and enlighten the spectator
    (Rasika)
    – Sahridaya Rasika

    5
    Natya-Rasa

    • This aesthetic relish, which is possible only through mental


    perception, is termed as Natyarasa.
    – Even the terms vihava, anubhava, and vyabhichaibhava refer only to
    stage representation and not to realities of life. It naturally follows that
    what they produce should only be ‘Natyarasa’
    – One enjoys experiencing the emotions with the artist, sometimes visibly
    express them by shredding tears or laughing spontaneously. But the
    artist and the spectator are well aware that neither of them is going
    through it in reality. The enjoyment is Natyarasa

    • नहि रसादृते कश्चिदर्थ: प्रवर्तते


    (Na hi Rasad rite kaschid arthah pravarteta)
    – No meaningful idea is conveyed if the “Rasa” is not evoked

    6
    Rasa

    • A very succinct formulation of Rasa is

    विभावानुभावव्यभिचारिसंयोगाद्रसनिष्पत्तिः ।

    Vibhava – anubhava – vyabhichari – samyogad – rasa – nispatti

    • The aesthetic relish (rasa) is produced (rasanispatti) by a


    combination of determinants (vibhava), consequents (anubhavas),
    and transitory states or fleeting emotions (vyabhicharibhava)

    7
    Bhava

    • Chapter seven deals with Bhava


    • Feeling, emotion, psychological state
    • The word bhāva has its roots in √bhu which means “to be”
    • bhāva as that which pervades the mind of human-beings
    • Three types of bhava
    – Sthayi (pervading or stable emotions) (eight types)
    – Vyabhachari (thirty three)
    – Satvika (eight)

    – Total fourty-nine types of bhavas

    8
    Sthāyibhāva (basic mental states)

    • Sthāyibhāva are inborn and innate emotional states that are


    acquired by training or education.
    – Permanent emotions are inherent in all human beings.
    – Deeply embedded in human psyche.
    – Underlies all the other bhāvas
    • Sthayibhavas are comparatively stable and last longer
    – They are eight in number, but some rhetoricians have added three more.

    9
    Sthayi Bhava
    Sl. No. Sthayibhava Rasa
    1. Rati Sringara (Erotic)
    2. Hasa Hasya (Comic)
    3. Soka Karuna (Compassionate)
    4. Krodha Raudra (Wrathful)
    5. Utsaha Vir (Heroic)
    6. Bhaya Bhayanaka (Terrifying)
    7. Jugupsa Bibhatsa (Odious)
    8. Vismaya Adbhuta (Marvellous)

    1. Nirveda / Shanta (Indifference/renunciation).


    2. Vatsalya (Affection for children).
    3. Sneha or Sahacarya (Desire for the companionship particular friend).

    10
    Vyabicaribhavas (Sanchari Bhava)

    • Sthayi Bhava is developed by a number of transitory (ancillary)


    feelings referred to as Vyabicaribhavas
    • Fleeting emotions which do not just accompany sthayibhavas but
    represent, reinforce and re-echo them.
    – minor, temporary and transitory
    – These Bhav are the companions of Sthayi Bhava
    – Vyabicaribhava are like multi-coloured beads woven in a string
    – The sancharibhavas or vyabhicharibhavas are said to be 33 in number

    11
    Sanchari Bhava

    1. Nirveda (Despondency or indifference) Smrti (Recollection memory)


    2. Glani (Weakness languishing) 11. Dhrti (Contentment)
    3. Sanka (Apprehension) 12.Vrida (Shame)
    4. Asura (Envy or jealousy) 13.Capalata (Inconstancy)
    5. Mada (Intoxication) 14.Harsa (Joy)
    6. Srama (Fatigue) 15.Avega (Agitation)
    7. Alasya (Indolence) 16.Gaiva (Arrogance)
    8. Dainya (Depression) 17.Jadata (Stupor)
    9. Cinta (Anxiety) 18.Visada (Despair)
    10. Moha (Delusion) 19.Antsukya (Longing)

    12
    Sanchari Bhava

    21. Nidrā (sleep)


    22. Apasmāra (dementedness)
    23. Swapna (dreaming)
    24. Vibodha (awakening)
    25. Amarsha (animosity)
    26. Avhittha (indignation)
    27. Ugratā (ferocity)
    28. Mati (resolve)
    29. Vyādhi(sickness)
    30. Unmāda (madness)
    31. Trāsa (alarm)
    32. Vitarka (trepidation)
    33. Mārana (demise)

    13
    Vibhāvas

    • The conditions and objects which give rise to the emotions


    – Karna, nimitt and hetu
    – Manhandling, dragging, insult, quarrel or debate and similar factors will act as
    vibhavas to evoke in us a feeling of wrath (Krodha)

    • Alambana vibhava –
    – The characters with respect to whom the emotion is aroused.
    • Nayak and Nayika are the examples of Alambana vibhav in Sringra
    – Main stimulating cause

    • Uddipana vibhava –
    – The circumstances that inspire the emotion.
    – Weather, music

    14
    Anubhāvas

    • Anubhavas are bhavas which ‘show up’ on characters after some


    stimuli
    • The performer’s gestures and other means to express the emotional
    states.
    – Voluntary
    • Deliberate actions and gestures
    – Involuntary (Sattvikabhavas)
    • Sweating, shivering and trembling or

    15
    Sattvikabhavas

    • Involuntary states or inbuilt body responses


    • Physical manifestation of intense emotions
    • They are eight in number.

    1. Stambha (paralysis)
    2. Pralaya (fainting)
    3. Romanca (horripilation)
    4. Sveda (Perspiration)
    5. Asru (Tears)
    6. Vairarnya (Change of colour)
    7. Vipathu (Trembling)
    8. Vaisvarya or svarahbhanga (Change in voice/ breaking of the voice).

    16
    Example

    बतरस लालच लाल की, मुरली धरि लुकाय।


    सौंह करे, भौंहनि हँसै, दैन कहै, नटि जाय।

    उधो, मन न भए दस बीस।
    एक हुतो सो गयौ स्याम संग, को अवराधै ईस।।

    17
    18

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