The 'Theory of Rasa' Applied to Romeo and Juliet

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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 accepted and it 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: blue In addition to the nine Rasas, two more appeared later (esp. in literature): Additional rasas: Vātsalya (वात्सल्य) Parental Love

Bhakti (भक्ति) Spiritual DevotionAbhinavagupta

Performing Arts:
In the Indian performing arts, a rasa is an emotion inspired in an audience by a performer. They are described by Bharata Muni in the Nātyasāstra, an ancient work of dramatic theory. Rasas are created by bhavas: the gestures and facial expressions of the actors.[3] Expressing Rasa in classical Indian dance form is referred to as Rasa-abhinaya. The Nātyasāstra carefully delineates the bhavas used to create each rasa. Bhavas:

The Natyasastra identifies eight rasas with eight corresponding Bhava (mood): Rati (Love)
Hasya (Mirth)
Soka (Sorrow)
Krodha(Anger)
Utsaha (Energy)
Bhaya (Terror)
Jugupsa (Disgust)
Vismaya (Astonishment)
Romeo and Juliet
The play begins with a large fight between the Capulets and the Montagues, two prestigious families in Verona, Italy. These families have been fighting for quite some time, and the Prince declares that their next public brawl will be punished by death. When the fight is over, Romeo’s cousin Benvolio tries to cheer him of his melancholy. Romeo reveals that he is in love with a woman named Rosaline, but she has chosen to live a life of chastity. Romeo and Benvolio are accidentally invited to their enemy’s party; Benvolio convinces Romeo to go. At the party, Romeo locks eyes with a young woman named Juliet. They instantly fall in love, but they do not realize that their families are mortal enemies. When they realize each other’s identities, they are devastated, but they cannot help the way that they...
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