Application of Rasas in Indian Classical Dance

Abstract

Sensory communication as an outcome of performing arts has been described in Sanskrit aesthetics two millenia ago as rasa. The rasas are emotional and mental states that art can induce. A fully developed work of art should dynamically incorporate all nine of them (collectively known as the navarasa). The rasa theory was originally developed by Bharata Muni in Natya Shastra, and later elaborated by Abhinavagupta in Abhinavabharati. This thesis aims to offer an insight into the aspects of Sanskrit aesthetics which prescribe the application of rasas in Indian classical dance. The main research question seeks to explore what is the function of rasas in natya (trinity of dance, theatre and literature), with a specific focus on Bharatanatyam. The sub-questions investigate what is each rasa, how different rasas are applied in a performance according to the Natya Shastra, what is the essence of the concept of rasa itself, and finally, what is the contemporary use of rasas, and how does it differ from the ancient theory. The formal constituents of rasas (bhava) are described along with the acting technique (abhinaya). The methodology is based on an ethnographic approach; each chapter combines theoretical inquiry with analyses of the research materials collected during fieldwork in India. Three case study performances are analyzed: Mira by Mrinalini Sarabhai, Sampradayam by Mallika Sarabhai, and LDR by Revanta Sarabhai.