Rasa Theory

Eight Rasas:

Bharata Muni enunciated the eight Rasas in the Nātyasāstra, an ancient work of dramatic theory. Each rasa, according to Nātyasāstra, has a presiding deity and a specific colour. There are 4 pairs of rasas. For instance, Hasya arises out of Sringara. The Aura of a frightened person is black, and the aura of an angry person is red. Bharata Muni established the following.
Śṛngāram Love, attractiveness. Presiding deity: Vishnu. Colour: light green
Hāsyam  Laughter, mirth, comedy. Presiding deity: Pramata. Colour: white
Raudram  Fury. Presiding deity: Rudra. Colour: red
Kāruṇyam Compassion, mercy. Presiding deity: Yama. Colour: grey
Bībhatsam  Disgust, aversion. Presiding deity: Shiva. Colour: blue
Bhayānakam  Horror, terror. Presiding deity: Kala Ratri. Colour: black
Vīram  Heroic mood. Presiding deity: Indra. Colour: yellowish
Adbhutam  Wonder, amazement. Presiding deity: Brahma. Colour: yellow

Śāntam rasa
A ninth rasa was added by later authors . This addition had to undergo a good deal of struggle between the sixth and the tenth centuries, before it could be accepted by the majority of the Alankarikas, and the expression Navarasa (the nine rasas), could come into vogue.
Śāntam Peace or tranquility. deity: Vishnu. Colour: perpetual white
Shānta-rasa functions as an equal member of the set of rasas but is simultaneously distinct being the most clear form of aesthetic bliss.

Influence on cinema:
Rasa has been an important influence on the cinema of India. The Rasa method of performance is one of the fundamental features that differentiate Indian cinema from that of the Western world. In the Rasa method, empathetic “emotions are conveyed by the performer and thus felt by the audience,” in contrast to the Western Stanislavski method where the actor must become “a living, breathing embodiment of a character” rather than “simply conveying emotion.” The rasa method of performance is clearly seen in Malayalam Cinema and internationally acclaimed parallel Bengali films directed by Satyajit Ray. The latter is indebted to the Rasa method of classical Sanskrit drama, in the sense that the complicated doctrine(idea/belief) of Rasa “centers mostly on feeling experienced not only by the characters but also conveyed in a certain artistic way to the spectator. The duality of this kind of a rasa overlapping ” shows in The Apu Trilogy (1955–1959), which itself has had a large influence on world cinema.

 

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