Peper 7 Theory of Rasa
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The document discusses the theory of rasa as first mentioned by Bharatamuni in the Natyashastra. It states that rasa involves the human senses creating emotions in the mind through performance arts like dance, music, theater, and literature. Bharatamuni outlined nine original rasas or sentiments including erotic, comic, angry, compassionate, disgust, fearful, heroic, wonderful, and relaxed. Later critics added two more rasas. The document provides details on each rasa's associated emotions, examples, colors, and presiding deities.
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The document discusses the Theory of Dhvani proposed by Sanskrit critic Anandvardhan. Dhvani refers to suggestive meaning in poetry where the literal meaning of words takes a subordinate position to suggest deeper ideas, figures of speech, or emotions. Anandvardhan categorized poetry into three types based on dhvani - Uttama uses extensive dhvani, Madhyama uses moderate dhvani, and Adham uses little dhvani. Dhvani can be of three types - Alankara Dhvani relates to figures of speech, Rasa Dhvani relates to emotions, and Vastu Dhvani relates to the subject matter. Anandvardhan believed
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The document summarizes key aspects of the Natyashastra, an ancient Sanskrit text on performance arts. It discusses that the Natyashastra was authored by Bharatmuni and contains 36,000 verses providing guidance on theatre, dance, and music. It outlines the five stages of a play from the hero's perspective. The Natyashastra also covers four parts including rasa (aesthetic experiences), art, music, recitation techniques, and acting. It influenced not just theatre but also music, dance, and literature in India.
Natyashastra
Natyashastra is an ancient Indian treatise on the performing arts, especially theatre, written by the sage Bharata. It contains 37 chapters covering various topics related to drama production and performance. According to the text, drama was created by Brahma as a source of pleasure and entertainment for people. It describes nine basic sentiments or emotions (rasas) that can be expressed through drama. Bharata outlines how sentiments are achieved through objective conditions (vibhavas), bodily gestures (anubhavas), and secondary emotions and sensations (vyabhichari bhavas). The text also provides details on music, instruments, and other technical aspects involved in theatrical performances. Natyashastra demonstrates that
Inroduction to Natyashastra
The document provides an introduction to the ancient Indian text Natyashastra. It states that Natyashastra was created by the god Brahma and recorded by the sage Bharata. It details that Natyashastra is one of the world's largest theatre manuals, covering aspects like stage, dance techniques, acting styles, and the theory of emotions or rasas. The document also summarizes some key concepts from Natyashastra like abhinaya physical storytelling, mudras or hand gestures, and the actor's tools of costumes, words, body language and emotions.
Rasa shastra bhaishajya kalpana syllabus PPT
Rasa shastra Bhaishajya Kalpana Syllabus PPT ( CCIM 2012 ) -- By Prof.Dr.R.R.Deshpande
• This PPT – Based on New Syllabus of CCIM ,implemented from 2012 .This is like ATP – Advanced Teaching programme of that particular subject .Very useful for Teachers & Students of Ayurved college .Student can recite this syllabus ,which can boost up their confidence to get success in that subject .Teachers & students can download this PPT in their smart phone ,to keep eye on their subject goal .
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Sem 2 paper-7 Literary Theory & Criticism
This document contains information about a student named Lalji G. Baraiya, including their course details, enrollment number, and contact information. It also provides an overview of Rasas or aesthetic flavors in Indian classical drama as described in the ancient Indian text Natya Shastra. Specifically, it lists the nine primary Rasas - love, laughter, wonder, heroism, relaxation, tragedy, terror, disgust, and anger. For each Rasa, it provides a brief description and examples from literature. It concludes by inviting feedback to the provided email address.
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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
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Here my presentation of paper no 7.Its a part of my of academic activity.Its submitted to Dr.Dilip Brad Sir Department of English MKBU.
Presentation7
This document discusses criticism against Anandavardhana's theory of dhvani in Indian poetics. The theory proposes that poetry relies on suggestion rather than only literal meaning. Critics argue that words only convey their primary meanings, not suggested senses. However, others counter that suggestion plays an important role in poetry as it allows expression of inexpressible ideas. The dhvani theory accounts for factors like context, music, and gestures that influence a work's suggested meaning.
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Jacket of my Book on Aesthetics
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The document is a student paper on the topic of Introduction to Natyashastra. It includes the student's name, class details, paper number, topic, and email. It provides an overview of Natyashastra as the earliest work on dramaturgy in Sanskrit literature authored by Bharatmuni. It also defines rasa according to Bharatmuni as the combination of vibhava, anubhava, and vyabhichari, and notes Markand's interpretation of rasa as the structure of human experience.
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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)
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Adbhuta (wonder, amazement)
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This document provides an introductory overview of Rasa theory, which originated with Bharata in the Natyasastra. It discusses the eight main rasas or emotional responses - astonishment, terror, love, sorrow, anger, disgust, mirth, and energy. Each rasa is said to arise from different causal factors and have distinct characteristics. For example, love refers to deep attachment between individuals, while anger results from serious offenses. The document also defines key terms related to Rasa theory and cites sources to provide historical and scholarly context.
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Peper 7 Theory of Rasa
- 1. Theory of Rasa Presented by- Asha Dodiya b Class- M A. Semester- 2 Batch Year- 2015-17 Paper no.- 7 (Literary Theory and Criticism) Email id- ashadodiya15@gmail.com Submitted to- Smt. S B Gardi Department of English M K Bhavnagar University
- 2. • The rasa theory was first mentioned by Bharatamuni in Natyashastra. It is about the senses of human, which creates emotions in mind with the help of natya. • The concept of rasa is not only about natya, but it includes dance, music, musical theatre, cinema and literature. The actual performance of a particular rasa differs greatly between different styles and schools of abhinaya.
- 3. Rasa is all about having emotions from the act and actors. One can feel different sentiments from the concept of rasa. There were many critics after Bharatmuni who have given their opinions in rasa theory. Bharatmuni has given nine rasa and two rasas were added by Rudrat and Uddbhatt
- 5. Erotic sentiments (Shringara) About - love and beauty - attractiveness and devotion Colour- light green God - Vishnu
- 6. Pathetic sentiments (Karuna) - About - sadness, pity or grief. - Colour- White - God -
- 7. Comic Sentiment (Hasya) - About - laughter, joy. - Example- ravana - Colour- White - God - Ganesha
- 8. Furious (Raudra) - About anger - Example- Shiva - Colour- Red - God - Rudra
- 9. Heroic (Veer) - About - courage, pride, bravery and self confidence. - Example- Character of Rama (Ramayana) - God - Indra
- 10. Terrible (Bhayanaka) - About - horror or terror, fear. - Example- character of Rakshsha. - Colour- Black -God - Kali
- 11. Odious (Bibhatsa) - About – disgust. - Example- Prince Siddhartha - God - Shiva - Colour- Blue
- 12. Marvellous (Adabhuta) - About – wonder and mystery. - Example- Character of Rama - God - Brahma - Colour- Yellow
- 13. Relaxation (Shanta) - About - peace and calmness. - Example- Rama -God – Vishnu. - Colour- White