BHARATMUNI – ON NATYA AND RASE

BHARATMUNI – ON NATYA AND RASE

INTRODUCTION:-

                                Bharatmuni is considered as the Father of India theatrical art forms. He was an India theatrologist and musicologist who authored Natyasatra, a theoretical treatise. He composes Natyashstra between 200-300c. The very core aesthetics is the creation of “Rasa”. The concept of aesthetic decends from the concept of tasted. Bharatmuni sates in the Rasadhayaya of Natyasastra that,

                           “No meaningful idea is conveyed if the ‘RASA’ is not evoked.”

                               Rasa has no equivalent in word of concept in other language. However the closest explanation can be aesthetic relish. (Rasa) The concept of ‘Rasa’s most important and significant contributes of the India mind to aesthetic. The study of aesthetic deals the realization of beauty in a dance music and theater.

THE NATYA IS DEPICTION AND COMMUNICATION OF THE ENTAIR WORLD:-

                             The Natya is depiction and communication pertaining to the emotions of the entire world. Occasionally piety, sport, wealth, peace of mind, laughter, frightening, sexual passion, slaughter comfort, courage, are bult on the stage imitating the conduct of the world is the Natya. It is based on the actions of men. This natya creates/ produce wholesome instruction as well as pleasure to the world. In fact the Natya is to be understood as an indicator of happening in the life good, demons, king family men and sagas who have spiritual knowledge. Actually, the nature and behavior of the world is imitated are presented by physical and other form of acting is called the Natya.

THE FOUNDATION OF RASA:-

                           Rasa is based upon a particular view of psychology. It hold the view that our personality is constituted of a few primary emotion which lie deep in the subconscious and unconscious strata of our being. This primary emotions are the passionate, the cosmic, the pathetic, the furious, The heroic, the fearful the wondrous, the odious – these emotions are running through all nature in a permanent manner and may be in that sense be called dominant emotions. However, it should be noted that “no emotion is called rasa unless it is aesthetically excited by art situation.” After all, rasa is an emotion excited by artistic presentation.

THE NINE TYPE OF RASA:-

                            The division of aesthetic experience into light or nine rasas is not of any consequence today from the point of view comparative aesthetic. It is of some use in practical criticism. The eight or nine sentiments recognized in drama , dramatic and colours representation is named as follows:

SHRANGARA Rasa- Erotic-Green

hasya rasa- humourous-  white

Karun rasa – pathetic- Gary

Veer Rasa- Herotic- yellow, red

Rudra Rasa- Furious- Red

Bhayanaka Rasa- terrible- Red

Bibhatsa Rasa- odious- Black

Arbhuta Rasa- Marvellous- yellow

Shanta Rasa- Tranquil

 EACH RASA HAS A PRESIDING DEITY:-

shrangara Rasa- VISHNU

hasya rasa- PRAMATA

Karun rasa-YAMA

Rudra Rasa-RUDRA

Veer Rasa-INDRA

Bhayanaka Rasa-KALARATRI

Bibhatsa Rasa-SHIV

Arbhuta Rasa-BRAHAM

Other points which may include are the bhavas, the vibhava, the anubhava, the sthayibhavas, the vyablicari bhavas, the sattvika bhava and model spectator.

                 

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