Bhava - the exposition of emotion!

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.

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

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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

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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Rasa - the aesthetic flavor of Natya!

Rasa is one of the most discussed terms in Indian aesthetics. It is the underpinning of all Indian Art forms. In this blog, I wish to introduce the concept of Rasa and the parameters related to the same. 

The term Rasa can be roughly translated as the aesthetic flavour of art.  Rasa is that aesthetic flavour which can be relished. Like how one can relish the taste of a delicacy, one should be able to enjoy the aesthetic elements in art. Who enjoys the aesthetic beauty of art? In the context of Indian classical dance, it is the spectators who enjoy it. Hence the term Rasa can be roughly translated as the aesthetic pleasure created in the spectator. The aesthetic experience created in the audience is called 'Rasanubhava'.

How a dancer invokes the 'Rasanubhava' - the aesthetic experience in the audience? To achieve this goal, Natya Shastra enunciated a sutra- a formula, the famous Rasa-Sutra of Natya Shastra!

"Vibhava Anubhava Vyabhichari Samyogat Rasa Nishpattih" - Chapter 6 (Rasavikalpa)

It says that the combination of 'Vibhava' and 'Anubhava' together with' Vyabhichari Bhavas' produces Rasa. Let us try to understand the meaning of Rasa-sutra in detail.

For an actor to emote any sentiment, there requires a cause. And the reason behind every action is called 'Vibhava'.  Hence, Vibhava is the term used to represent 'Hetu or Karana', and it is of two types -'Alambana' and 'Uddipana'. 'Alambana' is the direct cause. 'Uddipana' is the situational factor that helps enhance the impact of the former. Let us take an example of a plot depicting the plight of an old woman. Here, the direct sight of the character - the frail old woman on stage is the 'Alambana Vibhava'. And when she is represented on stage sitting inside a thatched hut with unkept surrounding reminiscent of neglect and poverty, that is 'Uddipana Vibhava'.  

'Anubhava' is the following action of 'Vibhava'. In other words, it is the physical manifestation of 'Vibhava'. Referring to the previous example, when the old lady lying in a thatched hut is represented in stage though sighs and lamentations, the emotion gets clearly communicated to the audience.  Hence, the physical reactions which follow 'Vibhava' –are referred to as 'Anubhava'. 

'Vyabhichari' bhavas are the transitory emotions which come and go throughout the act. As these temporary emotions keep playing, it helps build the permanent emotion - the 'Sthayi Bhava' in the act. Referring to the previous plot as an example, we can bring flashback scenes depicting various emotions. The scenes can be as follows. The joyful scenes of upbringing her single child showing various stages of his growth. The sorrowful scenes depicting the plight of a mother when she loses her son. As the story is revealed, many emotions get played according to various situations. And finally, these transitory emotions help build the Shoka bhava (Sthayi bhava) in the act. 

When the spectators watch this performance, they get unified with the character and therefore the Sthayi bhava. As the audience enjoy the Sthayi Bhava, it gets translated as a blissful experience of Rasa in them. This process is known as Rasa Nishpattih as given in the Rasa-sutra. As we refer to the previous example, the 'Shoka bhava' gets translated as 'Karuna Rasa' in the audience.

As we are analyzing, it is interesting to note that the Rasa-Sutra of Natya Shastra does not specify the role of Sthayi Bhava in the process of Rasa realization. The importance of Sthayi Bhava is brought out through the interpretations of scholars such as Bhatta Lollata, Sri Shankuka, Bhatta Nayaka, and Abhinava Gupta in the later centuries. 

In a nutshell, Rasa is that experience when at a given moment, no other reality exists but that of the art, the spectator and the artiste will become one in spirit. 

References

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Natya Shastra by Board of Scholars

Natya Shastra by N.P Unni

Courtesy: Reva University & all my Gurus who inculcated art me. 

Picture Courtesy: Images from the Internet. 

Author: Anju Peter, Nrityankanam, Hyderabad, India 

A Blog for Mohiniyattam, Mohiniattam, and Indian Classical Dance 

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