Rasa theory

Introduction 

Rasa Theory asserts that entertainment (in the drama/performance) is expected to evoke Rasa or joy (artistic) but that is not the primary goal. The primary goal is instead to create parallel life in front of the audience to experience a sense of one's own (i.e. Consciousness, spiritual and moral question).

Defination of rasa

According to Bharata, “Rasa is so called because it is capable of being tasted (asvadvate).” A particular state of mind gives rise to an aesthetic relish which emerges from the combination of various emotional factors.

 Meaning of Rasa

Rasa at one time meant ‘water’, ‘juice’ or ‘wine’. At another time it implied ‘essence’. In another context it meant ‘relish’ or ‘savouring’. There was a time when it indicated the primary constituents of medicine. It also meant ‘aesthetic pleasure’ or ‘enjoyment’ a meaning or association of meanings with which we are essentially concerned.

 

 Nine rasas of Indian poetics

Shringar Rasa

: means the rasa indicating romance and love. It can be seen in manyof the dramas dealing with love stories and it is easily visible in Indian retro movieswhich had loud expressions like drama. Lord Vishnu ids the Presiding deity and thecolour representing romance and love is green colour.2.

 

Hasya Rasa

: denotes laughter and comedy. Lord Ganesha is the presiding deity ofHasya Rasa, Ganesha is also known as Vighnaharta (means one who clears all theobstacles in our life). It is believed that He can prevent all our troubles and obstaclesand lead us to our success. White colour is used to symbolize the hasya rasa.

 

 

Raudram Rasa

: denotes fury or anger. The presiding deity is Lord Shiva also knownas Rudra. It is believed that Lord Shiva is very innocent and so he can be easilypleased and he gets very furious quickly. At the same time he is very generoustowards the good people. Red colour indicates the raudram rasa. In western culturealso red indicate poverty and violence or bloodshed and thereby supporting thisconcept.

 

Karunya Rasa:

 denotes compassion and mercy. Seeing a tragedy. For example when

we see Shakespeare’s tragedy we de

velop a compassion towards the hero. Lord Yamawho is believed to take our souls to Yamlok after our death is the presiding deity ofKarunya rasa. It is symbolized by the dove colour or grey colour.

 

Bhibhasam Rasa

: denotes disgust or aversion. The presiding deity is Lord Shiva andthe colour is blue.

 

Bhayanaka Rasa

: shows horror and terror. For example the opening scene of

 Macbeth

which shows the three witches induces some sort of terror in the audience.Its presiding deity Devi Kalarathri. It is denoted by the black colour.

 

Veeram Rasa:

 symbolizes or portrays heroism. Its presiding deity is Lord Indra, whois the king of heaven and it is believed that he is responsible for bringing the rain andthunder. It is expressed using saffron colour.

 

Adbhuta Rasa

: expresses wonder and amazement. It has the creator Bhrahma(Brahma) as its deity. Yellow colour is used to express this rasa.

 

Shanti Rasa

: which indicates peace, Lord Vishnu is the presiding deity of Shanti rasaand it is indicated with white colour. It is not there in the Indian poetics. It was later edited by the scholar.

विभावानु भाव व्यभिचारी संयोगाद रस निष्पतिः।

This means that rasa develops from the blending of vibhava, anubhava and vyabhichari. It manifests itself when the sthayibhava, the emotion of the reader is correlated with the following three aspects presented in a piece of creative literature (i) excitant (ii) ensuing response and (iii) transitory feelings.

Sthayibhava : permanent emotions or feelings. There are 8 or 9 sthayi bhavas are there and they are,

Rati (Love)

Hasa (Laughter)

Soka (Grief)

Krodha (anger)

Utsaha (Enthusiasm)

Bhaya (fear).

Jugupsa (Disgust)

Vismaya (astonishment)

Nirveda (Indifference/renunciation).

Vatsalya (Affection for children).

Sneha or Sahacarya (Desire for the companionship particular friend).

Vyabhicharibhava: transitory (fleeting) emotions. There are 33 vyabhichari bhavas are there they are 

Nirveda (Despondency or indifference)

Glani (Weakness languishing)

Sanka (Apprehension)

Asura (Envy or jealousy)

Mada (Intoxication)

Srama (Fatigue)

Alasya (Indolence)

Dainya (Depression)

Cinta (Anxiety)

Moha (Delusion)

Smrti (Recollection memory)

Dhrti (Contentment)

Vrida (Shame)

Capalata (Inconstancy)

Harsa (Joy)

Avega (Agitation)

Gaiva (Arrogance)

Jadata (Stupor)

Visada (Despair)

Antsukya (Longing)

Nidra (Sleep)

Apasmara (Epilepsy)

Supta (Dreaming)

Vibodha (Awakening)

Amarsa (Indignation)

Avahitta (Dissimulation)

Ugrata (Ferocity)

Mati (Resolve)

Vyadhi (Sickness)

Unmada (Insanity)

Marana (Death)

Trasa (Terror)

Vitarka (Trepidation)

Vibhava : excitant or stimulating determinants.The vibhavas or determinants help in development of a feeling in sentiment. These vibhavas are of two kinds: alambana (supporting) and uddipana (excitant).

Anubhava : Consequent or ensuing response.

Anubhavas are the consequents or reactions to these deternminants. Thus according to Bharata, through the union of vibhava, anubhava and sancharibhava rasa is manifested.

 4 types of acting realted to rasa theory

1.organic acting (આંગિક અભિનય):

A natural response that comes (organically) from deep within the character/actor.

2.expression of speech:

(વાંચીક અભિનય):It is to read the expression of actor and actress which is cane on their faceVāchika Abhinaya as a dominant component - Koodiyattam, Nangyar Kooothu, Ottan, Seetangan & Parayan - the three types of Thullal, Mudiyettu are the most popular.

3.Satvik acting. (સાત્વિક  અભિનય)Sāttvika Abhinaya is the mental message, emotion or image communicated with the audience through the performer's own inner emotions. The dancer or actor has to use experience, something authentic, to capture the audience and to elicit an empathetic response. The human activity in other words, is traditionally classified as belonging to the mind, voice and body. Bharatha Muni in Natyashastra mentioned that sathva is something originated in mind.

4.   Dietary acting   (આહાર્ય અભિનય)

Another means of representation of the play is indeed the costumes and physical decorations of the actors and the theatre. In dramas and dance dramas, costume and making are distinguished by the sex, race, sect or class, or the social position of the characters, giving the production of the presentation some semblance of reality. The decorations of the stage theatre including lights and accessories are related to the scene of the depiction in which enhances the rasa between the audience and artists also comes.

4 speakers on rasa theory:

There in the rasa theory four speakers throw light on this theory 

Bhatt lolatt:uttptivaad 

As per bhatt loatt rasa generated from the character,before that rasa has no existence at all.

Shree shankuk:Anumiti vaad

 As per shankuk  Rasa has no existence  at all,it has assumption.

Bhatt nayak:sadharni karan

 સાધારણ  means common, which is gave us experience  of rasa.

Abhinav gupta:

As per abhinavagupta  rasa is neither  generated  nor assumption. It has given the readers.

Conclusion:

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 Nātyasāstra, an ancient work of dramatic theory. Rasas are created by bhavas: the gestures and facial expressions of the actors