The Theory of Rasa

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1. Theory of Rasa By Prof.R.R.Borse , Asst.Prof . & Head , B.P. Arts, S.M.A.Science & K.K.C.Commerce College, Chalisgaon [email protected]

2. Rasa theory and its application in translation With reference to the drama “Shakuntala” Original Writer: Kalidas Presentation by Ravi Kumar University of Ottawa

3. Structure of Presentation Context of rasa theory Structure of rasa theory Rasa theory in Action “Shakuntala”: Translation and Story Presentation” Discussion & Conclusion Audio –medial Clip

4. Context of rasa theory R asa theory finds its root in late vedic period in Atharvaveda ( 200 BC-100 BC) Bharatmuni (First century AD approx.) gave major statement in his Book Natyashastra Natyashatra is Indian treatise on the performing arts, encompassing theatre, dance and music

5. Context of rasa theory Bharatmuni says “ rasa is realization of one’s own consciousness as colored by emotions” “rasa and emotions cannot be expressed directly through words, their essence being immediate experience; so they can be only suggested by words”

6. Structure of rasa theory The Rasa theory is built around the concept of bhava which is subdivided into vibhava (विभव), sthayibhava (स्थायी भाव) , sancaribhava ( संकरी भाव) , anubhava (अनुभव) and sattvikabhava (सात्विक भाव) .  Bharata enumerates forty-nine bhavas  - it is a claim about the range of human experience. 

7. Structure of rasa theory

8. Structure of rasa theory Rasa is an emotion experienced by the audience created by the facial expression or the Bhava of the actor. Our discussion will focus only on following sthayibhavas (स्थायी भाव ) . RASA BHAVA MEANING COLOUR Shringar(love) Rati Love/delight Pale Light Green Hasya (humorous) Hasa Laughter White Karuna (Pathetic/kindly) Shoka Sorrow Grey Raudra (furious) Krodh Anger Red Veera (heroic ) Utsaha Heroism PaleOrange Bhayanaka (Fearful) Bhaya Fear Black Bibhatsa (Odious) Jugupsa Hate/disgust Blue Adbhuta ( Wonderful) Vismaya Wonder Yellow Shanta (Peaceful) Shanta Peace White

9. Rasa theory and the audience

10. Whereas feelings and emotions when aroused by linguistic means are conditioned responses, moods are not, and this is also a fundamental aspect of rasa; rasa is based on conditioned responses, but in itself is something higher: we may call it unconditional or cultivated response. Rasa can be experienced individually or collectively Rasa theory: the experience of rasa

11. Shakuntala and its translation – the continued life Monier – Williams in 1855 ( colonial India) Kale in 1898 – Colonial India Chandra Rajan – Post –colonial India Currently there will be more 200 popular versions of translation available in different languages.

12. Upon Dushyanta’s requests, the boy took him to Shakuntala. Dushyanta meets Shakuntala and narrates about his memory loss. He asked her to join him again and thus, the family gets reunited. Dominant Bhava : utsaha, vismaya shoka , rati, shanta Dominant Rasa : veera , adbhuta , karuna , shringar, shanta Audience gets heightened delight – the mixture of many rasas Shakuntala, Bharat and Dushyant reunite – Harmony Restored

13. Discussion and Conclusion The answer may be sought in Indian Drama and Indian Cinema where, a very careful approach is taken to arouse the feelings of the viewers and provide heightened experience through a story based on action, love, romance, separation and reunion supported by songs http://www.youtube.com/watch?v=HBx0BH77L3E

14. THANK YOU.