Natya Shastra of Bharata
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The Natya Shastra of Bharata( Nātyaśāstra ) (titled as Natyashastra) is the principal work of dramatic theory in the Sanskrit drama of classical India. It was written by the sage Bharata Muni. It is a set of precepts on the writing and performance of dance, music and theatre. While the Natyasastra primarily deals with stagecraft, it has come to influence music, dance, and literature as well. Thus, an argument can be made that the Natyasastra is the foundation of the fine arts in India.
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[edit] Text and title
This Natya Shastra was written by the sage Bharata Muni who, it is claimed, was directly inspired by the god Brahma. It is believed to have been written during the period between 400 BC and 200 AD. Some scholars believe it was written by various authors at different times.
The text is written in the Sanskrit language, and consists of 6,000 sutras, or verse stanzas, incorporated in 36 chapters. There are some passages that are composed in a prose form.
The name can be loosely translated as The Textbook on Drama. Natya, or nataka means drama, and in contemporary usage does not include dance. However, nataka originally derives from the word meaning "dance" (root: nat). This suggests that in traditional Sanskrit drama, music and dancing, as well as acting, were important.
[edit] Theory
This Natya Shastra is incredibly wide in its scope. It consists of minutely detailed precepts for both playwrights and actors.
Bharata describes 15 types of drama ranging from one to ten acts. In addition, he lays down principles for stage design, makeup, costume, dance (various movements and gestures), a theory of aesthetics (rasas and bhavas), acting, directing and music, each in individual chapters.
Bharata sets out a detailed theory of drama comparable to the Poetics of Aristotle. He refers to bhavas, the imitations of emotions that the actors perform, and the rasas (emotional responses) that they inspire in the audience. He argues that there are eight principal rasas: love, pity, anger, disgust, heroism, awe, terror and comedy, and that plays should mix different rasas but be dominated by one.
[edit] Rasas
One of the most important concepts in the Natyasastra is the experience of rasa (translated sometimes as 'emotions,' 'sentiments' or 'flavor'). Rasa are the emotional states that the refined and educated Sanskrit Drama audience members experiences as they watch a play. Each rasa experienced by the audience is associated with a specific bhava portrayed on stage. For example, in order for the audience to experience srngara (the 'erotic' rasa), the playwright, actors and musician work together to portray the bhava called rati (love).
The Natyasastra identifies eight rasa and eight corresponding bhava:
Rasa Bhava Adbhuta (Marvelous) Vismaya (Astonishment) Hasya (Comic) Hasya (Mirth) Srngara (Erotic) Rati (Love) Bibhatsa (Odious) Jugupsa (Disgust) Vira (Heroic) Utsaha (Energy) Karuna (Pathetic) Soka (Sorrow) Bhayanaka (Terrible) Bhaya (Terror) Raudra (Furious) Krodha(Anger)
A ninth rasa, called Shaanta (Peace), was later extrapolated from the eight identified in the Natyasastra.
