यतो
हस्त ततो दृष्टी, यतो
द्रष्ष्ट ततो मनः,
यतो
मनः ततो भाव, यतो
भाव ततो रसः
– Abhinaya Darpanam
In this blog, I wish to explain the concept of Bhava and its role in the context of Indian classical dance. To begin with, let me explain the term Bhava. In simple
terms, Bhava is the emotion expressed by the artiste. In other
words, Bhava is that particular state of mind attained by the performer during an enactment. In Natyashastra, Bhavas are classified into three broad
categories - Sthayi, Sanchari (Vyabhichari), and Sattvika. There are eight
Sthayi bhavas, thirty-three Sanchari bhavas, and eight Sattvika bhavas. Hence
there exist forty-nine bhavas.
Sthayi Bhava – The permanent
emotion!
Sthayi Bhava is the permanent mood of the act. In order to attain this permanent mood, there are various other factors which contribute. However, it is Sthayi bhava which gets translated as Rasa in the spectator. The eight Sthayi bhavas as depicted in NatyaShstra is as follows - Rati(love),
Hasa (Laughter), Shoka (sorrow), Krodha (Anger), Utsaha(energy), Bhaya(fear),
Jugupsa(disgust), and Vismaya(astonishment).
Sanchari Bhava – The auxiliary emotions!
The Sanchari bhavas are the transitory moods,
the auxiliary state of emotions that strengthen the permanent mood (the
Sthayi). They serve as the building blocks for the establishment of Sthayi Bhava in an act.
For Example, to establish Rati Bhava
(love) in the Nayika (Heroin), who is expecting her beloved’s arrival, the following situations can be used. We can portray a beautiful Nayika, decorating her room with flowers, adorning herself
with ornaments and admiring her beauty in the mirror. In the above-described
scenes the Nayika goes through various temporary emotions such as joy, desire, shyness, eagerness,
and anxiety. These transitory emotions are called Sachari Bhavas through which the Sthayi bhava is developed. Such established Sthayi bhava in the protagonist gets translated as Rasa in the audience. Natyashastra advocates thirty-three Sanchari bhavas.
Sattvika Bhava – The true inner emotions!
Sattvika Bhava is the involuntary
physical response to an emotion. For Example, change in facial colour while
expressing Anger, experiencing horripilation while emoting fear and shedding
tears of joy during ecstasy, etc. Any mental emotion can be physically
manifested only when the actor emotes with the utmost involvement and
concentration. By emoting through Sattvika abhinaya, an emotion gets conveyed
to the spectator easily.
The eight Sattvika bhavas enlisted in
Natyashastra are - Stambha (Stupefaction), Sveda (Perspiration), Romancha (Horripilation),
Swara-bheda (Affliction in the voice), Vepathu (Tremor), Vaivarnyam (Changing
of the colour of the face), Ashru (Shedding tears) and Pralaya
(Unconsciousness).
Rasa and Bhava - the serene relationship!
In the context of Indian classical
dance, Rasa and Bhava are two terms often used interchangeably. Are Rasa and
Bhava the same? Is there any connection between them?
As we have understood, Bhava is the
emotion expressed by the actor. And, Rasa is the aesthetic flavour of
the Bhava experienced by the spectator. In other words, Bhava emoted by the actor is translated as a blissful experience of Rasa in the spectator.
When the Sthayi Bhava is created in a play, adequately supported by Sanchari Bhavas and emoted with Sattvika Bhava, it will get translated as Rasa in the spectator.
When the Sthayi Bhava is created in a play, adequately supported by Sanchari Bhavas and emoted with Sattvika Bhava, it will get translated as Rasa in the spectator.
Natya-Shastra advocates eight Rasas(sentiments) corresponding to eight Sthayi bhavas. They are - the Erotic
(Sringara), the Comic (Hasya), the Pathetic (Karuna), the Furious (Roudra), the
Heroic (Vira), the Fearful (Bhayanaka), the Odious (Bibhatsa), and the
Marvellous (Adbhuta). Later, philosophical and aesthetic theorization by
Abhinava Gupta has resulted in the inclusion of the ninth Rasa - the Shanta
Rasa. Thence the expression “Navarasa” came into existence!
In a nutshell, we have understood that
both Bhava and Rasa maintains a strong bond between them. Natya-Shastra says,
If Bhava emoted is not translated to Rasa, that act is meaningless. At the same
time, no rasa is devoid of Bhava. Hence, Rasa-Bhava
points to the serene relationship established between the spectator and the
actor in Indian aesthetics.
References
----------------
Sangita Ratnakara of Saranga Deva - Translated by Dr K. Kunjunnu Raja and Radha
Burnier, Published by Adayar Library
Natya Shastra, by Board of Scholars
Natya Shatra, by N.P Unni
Natya Shatra, by N.P Unni
Courtesy – School of Performing Arts, Reva University
Picture Courtesy – http://www.nalandadanceeducation.com/
Author: Anju
Peter, Nrityankanam
A Blog for Indian Classical Dance Mohiniyattam, and Mohiniattam.
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