The Rasa theory of Bharat Muni is an ancient Indian aesthetic theory that aims to describe the emotional or mood-based impact of performing arts on its audience. According to this theory, a performing art should evoke a specific emotional response or "rasa" in the audience. Bharat Muni, the author of the Natyashastra, an ancient Indian treatise on performing arts, identified eight primary rasas or emotions that can be evoked in an audience. These rasas are: Shringara (love, beauty) Hasya (comedy, laughter) Karuna (pathos, sorrow) Raudra (anger, fury) Veera (heroism, bravery) Bhayanaka (fear, horror) Bibhatsa (disgust, aversion) Adbhuta (wonder, amazement) Bharat Muni believed that these rasas are the essence of any performing art and that they should be presented in a way that is aesthetically pleasing to the audience. He also emphasized the importance of a performer's mastery of emotions and the use of appropriate gestures, facial expressions, and vocal modulation to create the desired emotional impact. The Rasa theory has been widely used and appreciated in Indian classical music, dance, and theater, and has influenced the development of various art forms over the centuries. It remains an important concept in Indian aesthetics and is still studied and practiced by performers and scholars today.

1. Rasa theory of ‘Bharat
Muni’
Submitted to- Ar. Reeta maurya Submitted by- A. k. maurya

2. Bharat Muni
• Bharata Muni was an ancient Indian scholar and the author of the
Natyashastra, a Sanskrit treatise on performing arts. He is
considered to be one of the most important figures in the
development of Indian classical dance, music, and drama.
• The Natyashastra also presents the concept of Rasa, which is the
emotional essence evoked in the audience by a work of art.
Bharata Muni identified eight primary Rasas and described in
detail the techniques and elements that artists can use to evoke
these emotions.

3. Rasa theory
• The Rasa theory is a fundamental concept in Indian aesthetics, which
was formulated by Bharata Muni in his treatise, the Natyashastra.
• According to Bharata Muni, Rasa is the emotional essence evoked in
the audience by a work of art, specifically in the context of Indian
classical dance, drama, and music. He argued that a successful work of
art must create a particular mood or emotion (Rasa) in the audience,
and that this is achieved through the combined efforts of the performer,
the script, the stagecraft, and the audience.

4. Rasa mean
• The term "Rasa" in the Indian tradition of performing arts refers to the
emotional essence evoked in the audience by a work of art, such as
music, dance, drama, and poetry. The word "Rasa" is derived from the
Sanskrit language, where it means "juice," "essence," or "flavor."
• In the context of performing arts, Rasa represents the emotional
experience of the audience while watching a performance. It is the
feeling or sentiment that is created through the use of various artistic
elements, such as music, dance, poetry, and acting.

5. Nine Rasa and emotions
• Shringara (Love/Beauty)
• Hasya (Laughter)
• Karuna (Compassion)
• Raudra (Anger)
• Veera (Heroism)
• Bhayanaka (Fear)
• Vibhatsa (Disgust)
• Adbhuta (Wonder)
• Shanta (Peace)

6. features of rasa theory
• Bhava: Bhava refers to the emotional states or feelings that the
performer portrays through acting, singing, or dancing. The
performer's ability to convey Bhava effectively to the audience is
essential to evoke the Rasas.
• Sthayi Bhava: Sthayi Bhava is the dominant emotional state
portrayed throughout the performance.
• Sanchari Bhava: Sanchari Bhava refers to the transient or supporting
emotional states that complement the dominant Bhava.

7. features of rasa theory
• Anubhava: Anubhava refers to the physical and emotional reactions
or expressions of the performer.
• Rasavat: Rasavat refers to the total experience of Rasa, which
includes the aesthetic and emotional aspects of the performance as
well as the intellectual understanding and appreciation of the art.