The Natyasastra identifies eight rasas with eight corresponding Bhava (mood):
Below:
Raudram rasa of the destructive fury of goddess Durga in Bharatanatyam
- Rati (Love)
- Hasya (Mirth)
- Soka (Sorrow)
- Krodha(Anger)
- Utsaha (Energy)
- Bhaya (Terror)
- Jugupsa (Disgust)
- Vismaya (Astonishment)
What makes the concept of "rasa" critical to understanding Sanskit drama? Compare and contrast this notion of stiulation of select emotional states by performance to the Western notion of catharsis.
Rasa seems to me to be passion, understanding and accepting of the underlying meaning of art all rolled into one word, one concept. "That which is relished is Rasa" (Sunsil). I take this to mean that to "relish" Sanskrit drama, you must have teh neccessary "palate" for it. Rasa is the soul of the art, maybe even the soul of the artist, displayed for the viewer- when the viewer understands the emotions of the artist, rasa is present.
In Western performances, it is equally important to understand the motives of the artist if you are to "get" the work. That is not to say that you can't enjoy the work without really getting it- I think that happens a lot! But, if you get it, if you understand what emotions are being portrayed, the work will have a bigger impact on you. I think about opera- the auguish portrayed when a love is betrayed, the sense of doom when one sees no way out of a predicament, the intense joy when love is returned- I think these emotions- indicated by the author, portrayed by ther actors, received and interpreted by the audience- also reflect rasa.
The notion of catharsis in drama is basically about portraying intense emotion- purging or cleansing emotion- and arousing those same emotions in the audience. Here is a clip from You Tube showing catharsis in action:
http://youtu.be/8vBslsDMaBM
Is catharsis the same as rasa? Rasa seems to me to be more subtle while catharsis is more intense, more "in your face". That being said, I do think they represent a similar concept- to arouse in the audience the same feelings that the author has when creating the work.
The Rasa can continue from the experience of the theatre. In catharsis the feelings can be left at the theatre where they are felt and experienced. The Rasa is experienced not only through the performer, but can have a lasting effect on the audience. The audience is able to feel as though the emotions have happened to them in real life, even though the emotions are not real.
ReplyDeleteSubmitted by Jenna Quinn
I think opera is a good example of a Western art form that calls for a "rasa-like" cultivation of emotion. If opera (or musical theatre for that matter) does not move you emotionally, stimulate you emotionally, then the production, in my view, is a failure.
ReplyDeleteI draw a stronger contrast with the notion of catharsis, though. The notion of catharsis seems to assume that you need to "get rid of" certain emotions and that performance is a way to do that.
Nice Youtube clip. Those folks are really getting their anger on...