The 'Theory of Rasa' Applied to Romeo and Juliet
THEORY OF RASA
RASA (AESTHETICS)
A rasa (Sanskrit: रस lit. 'juice ' or 'essence ') denotes an essential mental state and is the dominant emotional theme of a work of art or the primary feeling that is evoked in the person that views, reads or hears such a work.
Although the concept of rasa is fundamental to many forms of Indian art including dance, music, musical theatre, cinema and literature, the treatment, interpretation, usage and actual performance of a particular rasa differs greatly between different styles and schools of abhinaya, and the huge regional differences even within one style.
Elements :
Bharata Muni enunciated the eight Rasas in the Nātyasāstra, an ancient work of dramatic theory, written during the period between 200 BC and 200 AD. 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.[1]
Śṛngāram (शृङ्गारं) - Love, Attractiveness. Presiding deity: Vishnu. Colour: light green. Hāsyam (हास्यं)- Laughter, Mirth, Comedy. Presiding deity: Pramata. Colour: white. Raudram (रौद्रं) -Fury. Presiding deity: Rudra. Colour: red. Kāruṇyam (कारुण्यं)- Compassion, Tragedy. Presiding deity: Yama. Colour: grey. Bībhatsam (बीभत्सं)- Disgust, Aversion. Presiding deity: Shiva. Colour: blue Bhayānakam (भयानकं)- Horror, Terror. Presiding deity: Kala. Colour: black Vīram (वीरं)- Heroic mood. Presiding deity: Indra. Colour: yellowish Adbhutam (अद्भुतं) -Wonder, Amazement. Presiding deity: Brahma. Colour: yellow
Navrasa :
Abhinavagupta suggested a ninth rasa when only eight were
RASA (AESTHETICS)
A rasa (Sanskrit: रस lit. 'juice ' or 'essence ') denotes an essential mental state and is the dominant emotional theme of a work of art or the primary feeling that is evoked in the person that views, reads or hears such a work.
Although the concept of rasa is fundamental to many forms of Indian art including dance, music, musical theatre, cinema and literature, the treatment, interpretation, usage and actual performance of a particular rasa differs greatly between different styles and schools of abhinaya, and the huge regional differences even within one style.
Elements :
Bharata Muni enunciated the eight Rasas in the Nātyasāstra, an ancient work of dramatic theory, written during the period between 200 BC and 200 AD. 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.[1]
Śṛngāram (शृङ्गारं) - Love, Attractiveness. Presiding deity: Vishnu. Colour: light green. Hāsyam (हास्यं)- Laughter, Mirth, Comedy. Presiding deity: Pramata. Colour: white. Raudram (रौद्रं) -Fury. Presiding deity: Rudra. Colour: red. Kāruṇyam (कारुण्यं)- Compassion, Tragedy. Presiding deity: Yama. Colour: grey. Bībhatsam (बीभत्सं)- Disgust, Aversion. Presiding deity: Shiva. Colour: blue Bhayānakam (भयानकं)- Horror, Terror. Presiding deity: Kala. Colour: black Vīram (वीरं)- Heroic mood. Presiding deity: Indra. Colour: yellowish Adbhutam (अद्भुतं) -Wonder, Amazement. Presiding deity: Brahma. Colour: yellow
Navrasa :
Abhinavagupta suggested a ninth rasa when only eight were
Bibliography: : Theory of rasa notes by S N Gupta. Romeo and Juliet