- What makes the concept of ‘rasa’ critical to
understanding Sanskrit drama?
Compare and contrast this notion of stimulation of select emotional
states by performance to the Western notion of catharsis.
Sunil (p. 1) states "...poetic creation is an expression of the aesthetic
experience of the poet, and in this, Rasa represents the ultimate emotive experience
evoked by the literary work." Rasa is a two fold experience the the creator feels when creating the art, and the the experience the audience member that receives the art. The creator experiences an emotion, and seeks an outlet for this emotion. The audience member then feels this same emotion when receiving the art. However, the creator must deliver this emotion skilfully to have the recipient feel the same emotion.
Bharata calls rasa "the essence of art" (Sunil, p. 6). Rasa can be realized occurs when Vibhava, Anubhava, and Vyabicaribhava are in union and in alignment with with the Sthayibhava. I think that Vibhava and Anubhava are very important aspects of rasa. Vibhava activate the emotion that is conveyed from the creator of the art to the receiver of the art. Anubhavas are the external manifestations that result from the emotions conveyed through Vibhava. Vibhava and Anubhava seem to closely relate to the western concept of catharsis.
Catharsis can be described as an emotional cleansing felt by the audience after a deep emotional connection to the character on the stage. In other terms, the emotional aspect of a performance leads to an emotional change in the audience members. I can see Vibhava as the catalyst for catharsis and the Anubhava as the emotional change that results. Catharsis and Rasa are important to a performance because both create a direct link between the performer and the audience member. An audience member that experiences an emotional change because of the performance will continue to enjoy and experience that performance long after the actual performance has ended.
Ken Wagner
There is much passion in the emotional cleansing of catharsis and the emotions that the audience will experience. The Catharsis is only effective if there is an understanding of emotions, and a willingness to allow oneself to feel the emotions. If an audience is not willing to undergo the emotions that are necessarily felt by the performer than the purpose of the cathartic performance is void. Rasa can be felt by the audience but the purpose is to cleanse or do away with certain emotions, but simply to feel the emotions. I think that there is a big difference in the underlying purpose of the emotions that are being performed. Are they being performed to cleanse or inspire?
ReplyDeleteSubmitted by Jenna Quinn
Jenna is expressing my response. I think Rasa and Catharsis represent two contrasting views of the utility of emotion. The culture that came up with catharsis (Greek) viewed emotion as something that needed to be cleansed in order for the mind to function optimally. Rasa implies that an individual needs to be "filled up" with certain emotions in order to be optimally human.
DeleteI think it is possible for an audience member to feel emotions that are powerful, that are inspired by the performance, that are catharsic in nature, but that are not exactly the emotions that the playwright was trying to convey. For instance, suppose the playwright wanted to convey anger, the audience member might interpret the action throught their own lens and end up with sadness or loss- no less strong of an emotion and still catharsic- I think that as long as the audience connects in some way with the piece, the concept still is valid.
ReplyDeleteI don't agree that catharsis always extends long after the performance has ended. Unfortunately, it is usually momentary in order to achieve a balance. The purpose of agit prop theatre was to extend the elements of catharsis into everyday life in order to provoke or actuate an audience.
ReplyDelete(the above was mine... I always forget to put a name...)
ReplyDelete-Hailey Drescher