Hello readers here I am sharing my presentation of paper no 8 cultural studies. if you are interested than watch it and give your reviews and suggetions.
Rasa Theory with reference to Bharatas Natyashastrana hi RAS.docxmakdul
Rasa Theory with reference to Bharata's Natyashastra
"na hi RASAdrite kaschidarthah pravartate"1
Bharata Muni very emphatically states in the Rasadhyaya of Natyashastra that "no meaningful idea is conveyed if the "Rasa" is not evoked."
The very core of the Sanskrit Natya theory is the creation of "Rasa". Every dramatic presentation was aimed at evoking in the minds of the audience a particular kind of aesthetic experience, which is described as "Rasa". The concept of "Rasa" is the most important and significant contribution of the Indian mind to aesthetics. The study of aesthetics deals with the realization of beauty in art, its relish or enjoyment, and the awareness of joy/or Ananda that accompanies an experience of beauty. Rasa has no equivalent in word or concept in any other language or art of the world hitherto known to us. The closest explanation can be 'aesthetic relish'.
We do come across the mention of Natasutras of Silalin and Krishasva by Panini, prior to Bharata's Natyashastra, yet, it is only Bharatamuni who seems to have given a scientific analysis and codification of the concept of Rasa. Bharata says that Natya is the imitation of life (lokanukruti) wherein the various human emotions have to be dramatically glorified (bhavanukirtanam) so that the spectator is able to flavor the portrayed pleasure and pain (lokasya sukhaduhkha) as Natyarasa. This Rasa experience will entertain and enlighten the spectator who hence becomes the 'Rasika'.
The word Rasa is derived from the root 'rasah' meaning sap or juice, taste, flavour, relish. The extract of a fruit is referred to as 'rasa,' which itself is the essence of it, the ultimate flavour of it. Bharata succinctly encapsulates the theory of Rasa in his most famous formula-like Rasa sutra thus: "vibhavanubhavavyabhicharisanyogatRASAnishpattih."1
The aesthetic relish is produced (rasanishpattih) by a combination of the determinants (vibhava), consequents (anubhava), and transitory states or fleeting emotions (vyabhicharibhava). He explains Rasa as the essence derived from the various ingredients. He gives the parallel of the extract, rasa, got from various condiments, having different tastes, when combined becomes delectable to taste. Hence, that which can be tasted or flavored (asvadya) can be termed as Rasa. Just as the gourmet with a refined taste relishes good food, so also cultured and learned persons taste and relish the well established dominant mood (sthayibhava) created by various bhavas and abhinaya.2 This aesthetic relish, which is possible only through mental perception, is termed as 'natyarasa'. Even the terms vibhava, anubhava, and vyabhicharibhava refer only to stage representations, not to realities of life. It naturally follows that what they produce should only be 'natya rasa' (sentiments pertaining to the dramatic spectacle). One enjoys experiencing the emotions with the artistes, and sometimes even visibly expresses it by shedding tears or laughing spontaneously. ...
Rasa Theory with reference to Bharatas Natyashastrana hi RAS.docxmakdul
Rasa Theory with reference to Bharata's Natyashastra
"na hi RASAdrite kaschidarthah pravartate"1
Bharata Muni very emphatically states in the Rasadhyaya of Natyashastra that "no meaningful idea is conveyed if the "Rasa" is not evoked."
The very core of the Sanskrit Natya theory is the creation of "Rasa". Every dramatic presentation was aimed at evoking in the minds of the audience a particular kind of aesthetic experience, which is described as "Rasa". The concept of "Rasa" is the most important and significant contribution of the Indian mind to aesthetics. The study of aesthetics deals with the realization of beauty in art, its relish or enjoyment, and the awareness of joy/or Ananda that accompanies an experience of beauty. Rasa has no equivalent in word or concept in any other language or art of the world hitherto known to us. The closest explanation can be 'aesthetic relish'.
We do come across the mention of Natasutras of Silalin and Krishasva by Panini, prior to Bharata's Natyashastra, yet, it is only Bharatamuni who seems to have given a scientific analysis and codification of the concept of Rasa. Bharata says that Natya is the imitation of life (lokanukruti) wherein the various human emotions have to be dramatically glorified (bhavanukirtanam) so that the spectator is able to flavor the portrayed pleasure and pain (lokasya sukhaduhkha) as Natyarasa. This Rasa experience will entertain and enlighten the spectator who hence becomes the 'Rasika'.
The word Rasa is derived from the root 'rasah' meaning sap or juice, taste, flavour, relish. The extract of a fruit is referred to as 'rasa,' which itself is the essence of it, the ultimate flavour of it. Bharata succinctly encapsulates the theory of Rasa in his most famous formula-like Rasa sutra thus: "vibhavanubhavavyabhicharisanyogatRASAnishpattih."1
The aesthetic relish is produced (rasanishpattih) by a combination of the determinants (vibhava), consequents (anubhava), and transitory states or fleeting emotions (vyabhicharibhava). He explains Rasa as the essence derived from the various ingredients. He gives the parallel of the extract, rasa, got from various condiments, having different tastes, when combined becomes delectable to taste. Hence, that which can be tasted or flavored (asvadya) can be termed as Rasa. Just as the gourmet with a refined taste relishes good food, so also cultured and learned persons taste and relish the well established dominant mood (sthayibhava) created by various bhavas and abhinaya.2 This aesthetic relish, which is possible only through mental perception, is termed as 'natyarasa'. Even the terms vibhava, anubhava, and vyabhicharibhava refer only to stage representations, not to realities of life. It naturally follows that what they produce should only be 'natya rasa' (sentiments pertaining to the dramatic spectacle). One enjoys experiencing the emotions with the artistes, and sometimes even visibly expresses it by shedding tears or laughing spontaneously. ...
Famous classical dances in India. Indian classical dance, or Shastriya Nritya, is an umbrella term for various performance arts rooted in religious Hindu musical theatre styles, whose theory and practice can be traced to the Sanskrit text Natya Shastra.
The number of recognized classical dances range from eight to more, depending on the source and scholar. The Sangeet Natak Akademi recognizes eight – Bharatanatyam, Kathak, Kuchipudi, Odissi, Kathakali, Sattriya, Manipuri and Mohiniyattam.Scholars such as Drid Williams add Chhau, Yaksagana and Bhagavata Mela to the list.While the Culture Ministry of the Government of India recognizes Chhau as well. These dances have been regional, all of them include music and recitation in local language or Sanskrit, and they represent a unity of core ideas in a diversity of styles, costumes and expression
Bharatmuni’s Natyashastra The Rise of Indian Dramaijtsrd
This explanation paper critically examines Bharatmuni’s ‘Natyashastra’. In Natyashastra Bharatmuni explain the rule and regulation of Indian drama. Drama is a part of nation’s development in which all the staff members of the particular drama shows the characteristics behaviour of the same. Action, Diction, Light, Stage Performance and the most important thing Dramatic fiction, Conflict and suspence all over examined by Bharatmuni tell in the earliest, now all over dramatic acting on the same way. Rasas, Bhava, mode of acting by various kind of actor or emotions that characterize human life as well as arts. The present paper attempts to elaborate what is the things that makes ‘Natyashastra’ the special for Drama. Here the Discussion about the origin and development of Natya Nataka, Rasa, Panchasandhi, Arthaprakruti and Panchaabasta, Bharatmuni details on ‘Natyashastra’. Chinmaya Samal "Bharatmuni’s Natyashastra: The Rise of Indian Drama" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-6 | Issue-3 , April 2022, URL: https://www.ijtsrd.com/papers/ijtsrd49615.pdf Paper URL: https://www.ijtsrd.com/humanities-and-the-arts/dance/49615/bharatmuni’s-natyashastra-the-rise-of-indian-drama/chinmaya-samal
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.
Ami's presentation of paper no 5 roamntic literatureAmi Trivedi
This presentation is work of my academic activity. through which we can understand context or any other works very well and it also useful for others to refer their work. so here I am sharing my presentation with all of you. If you are interested please refer it and kindly give your comments and its also open to asking any question regarding this presentation. Thank you.
This presentation of paper no- 4 Indian writing in English is part of my academic presentation. Submitted to Dilip Barad sir and M.K.B.U. Bhavnagar University. M.A part- 1.
This presentation of paper no - 3 Literary Theory and Criticism is part of my academic presentation. M.A part-1 of M.K.B.U Bhavnagar University subbmitted to Dilip Barad sir and SMT S.B. Gradi Department of English.
This Presentation of paper no 2 Neo-classical Literature is part of my Academic presentation M.A English MKBU Bhavanagar University and it is subbmitted to Dilip Barad Sir. Please see this and evaluate as per your understanding.
Francesca Gottschalk - How can education support child empowerment.pptxEduSkills OECD
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Ami's presentation of paper no 7 criticism
1.
2. Natyashastra by Bharat is the
most important treatise on
dramatic criticism. It is regarded
as the oldest surviving text on
stage craft in the world.
Bharat in his ‘Natyashastra’
demonstrates every parts of
Indian drama like music, stage
design, make up, dance and
virtually every aspect of stage
craft
3. • According to Bharat Rasa means ‘aesthetic
delight.’ The eight basic Bhavas are,
1. Shringara ( Love )
2. Hasya (Comic or Humor)
3. Karuna ( Sympathy or Pathetic)
4. Raudra ( Anger )
5. Veera ( Heroism or Bravery )
6. Bhayanaka ( Fear )
7. Bibhatsa ( Hatred )
8. Adbhuta ( Marvel )
4. Later, in the 17th century AD, Abhinavagupta,
one of the greatest Kashmiri musician and
dramatist of his times, introduce the ninth Rasa,
the Shant rasa (Happiness or calmness).
Thus, a collection of nine Rasas emerged, which
gained popularity as Navarasa.
Let us see some examples of different rasa.
5. Shringara means “Love” and
often also “beauty.” Narrowly
speaking, Shringara means
enjoy the company of the
opposite sex, in a very lovely
and romantic way.
In a broader sense, Shringara
is the mood in which we
concentrate on creating a
lovely atmosphere, on family
and friends.
The mood of Shringara has
two aspects : The feeling of
love in union and in
separation. For example
Radha and Krishna’s love.
6. Hasya is the Rasa of joy, with
Humor as it’s most common
expression.
Humor is a very powerful tool
against Sadness, Fear and Anger.
Hasya depends not so much on
the occasion, but on the present
of the energy of joy in the body.
7. Adbhuta Rasa Veera Rasa
When we understand
that there are things
that we do not
understand, it makes
life beautiful and
exciting, full of wonder
to explore.
Wonder comes at the
beginning of the
spiritual journey, the
journey to find real
truth and solve the
mystery of life.
Veera or Courage is the
Rasa of fearlessness,
self-assurance, heroism,
perfect control of body
and mind.
In-ancient India, Veera
people were warriors and
king who fought in
accordance with the rules
of dharma.
Courage aids everybody
when challenges need to
be faced in life.
For example, dvandva
yuddha of Bhima and
Duryodhana in
Mahabharata
8. Shanta Rasa Karuna Rasa
Although everybody
experience some
relaxation sometimes,
real Shanta or Peace
exists only in Samadhi, a
state of super-
consciousness that is the
final stage of any yoga.
For a long time, Shanta
was not even regarded as
a Rasa by the Indian
tradition because it is
without emotion, in Rasa.
When we feel sad for all
do not see through is
illusion of suffering, for
ignorance created by
Maya, then we
experience the highest
form of Karuna, which is
compassion.
The origin Sanskrit word
Karuna means “Sadness”
This more popular
meaning of the Karuna
Rasa finds expression in
many kinds of art,
literature, and theater in
India.
9. Raudra Rasa Bhayanka Rasa
When expectations are
not fulfilled, the ego
may feel that it has
been neglected if it is
instructive, such as
incorrectly; this forms
the basis for Anger.
Fear is often caused by
ignorance. When
something is unknown,
the mind can only
imagine what it can do
and if the ego is not
confident enough, the
mind will imagine
fearful things.
10. Bibhatsa Rasa
Bibhatsa Rasa is a feeling of Disgust.
Though the problem of self-pity is
basically mental and supported by
body chemistry.
The ego may lose the power to
control Bibhatsa if it has been deeply
hurt by seeing bad intentions behind
the words and deeds of others.
