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Home , Indian aesthetics, Rasa (aesthetics), Shanta Rasa

The Natyasastra and Indian Cinema: A Study of the Theory as a Cornerstone for Indian [PP: 80-87] Alisha Ibkar Aligarh Muslim University Aligarh,

ARTICLE INFO ABSTRACT

Article History Bharata Muni(200B.C), the Indian performance theorist and philosopher, is The paper received on: credited with the formulation of the ultimate text of performing as well 13/01/2015 the rasa theory and is aptly celebrated as the father of Indian performative Accepted after peer- arts. Bharata(trans.1995) in Natyasastra has strongly argued that the ultimate review on: sensation depends upon the emotion felt by the audience (as guided by the 22/02/2015 actors performance). Bharata believes that the relevant representation of the Published on: durable psychological states acts a stimulus in evoking in the spectator a 07/03/2015 verisimilitude of other psychological states that is then known as a Sentiment or Rasa. The role of the eight rasas is quite central to Indian cinema and its Keywords: structure. It not only works to drive the plot and accentuate the behaviour of , the characters, its function is deeply engraved in the basic storyline. Taking Indian Cinema, up the example of Bollywood, in this paper I would try to argue that every Natyasastra, aspect Indian cinema comprising the performance of the actors, the technique Rasa Theory of acting, the music, sangeet, background score and even the emotions Stanislavsky, produced by the audience, is based on Rasa and the aesthetic principles of Natyasastra.

Suggested Citation: Ibkar, A. (2015). The Natyasastra and Indian Cinema: A study of the Rasa Theory as a Cornerstone for . International Journal of English Language & Translation Studies, 3(1), 80-87. Retrieved from http://www.eltsjournal.org

International Journal of English Language & Translation Studies ISSN: 2308-5460

Volume: 03 Issue: 01 January-March, 2015

1. Introduction Natyasastra strongly argues that the ultimate In Rasaethetics, Schechner(2001) has sensation depends upon the emotion felt by stated, that “rasa is a cumulative result of the audience (as guided by the actors vibhava (stimulus), (involuntary performance). According to the Natyasastra, action) and vyabhichari bhava( voluntary durable psychological states are eight that reaction) . For example, just when various aid one in experiencing that singular condiments and sauces and herbs and other spiritual freedom. Though the actor on stage materials are mixed, a is experienced. and the character played by the actor dictate So is it with the different bhavas (emotions), the emotion but it is the cultivated spectator, the sthayi bhava (permanent emotions who has to witness the action and expressed inside ) becomes a rasa”. (p. 29) experience the emotion produced on stage. Rasa, according to the Indian Bharata believes that the relevant aesthetics, is an essence of performative . representation of the durable psychological It is not only felt by the actors/ performers states acts a stimulus in evoking in the but is also conveyed by them to the sensitive spectator a verisimilitude of other spectators, who after enjoying the various psychological states that is then known as a emotions expressed by the actors through Sentiment. The Sentiment, or Rasa, being a their words, expressions and gestures feel vicarious experience, does not affect him in the pleasure. any other way, bringing in its wake a India cinema, since its conception, spiritual freedom and pure joy, which has relied on natyasastra for its skeletal purifies the soul. It is on a very similar structure in terms of both its theme and consideration that Aristotle spoke of structure. Its domestic themes that circle catharsis in connection to witnessing a around love and overpowering grief , the drama of tragic contents which are not very stereotypical roles of the chivalric hero and dissimilar to the pathetic, the odious and the pristine heroines, the larger than life terrible sentiments. backgrounds, exquisite make up and The Psychological states, Durable as costumes and innumerable musical and well as Complimentary, relate primarily to dance sequences bear testimony to the the characters in the play, the hero or the aesthetic principles of this ancient text. heroine, as Bharata Muni asserts. Speaking Unlike Euro-American cinema, based on of how one experiences the exalted state of Konstantin Stanislavsky's acting methods, Rasa, Bharata takes up the example of the that emphasizes on 'becoming' the character, Pathetic Sentiment. He believes it grows Indian cinema is completely based on from an affliction like separation from dear conveying the emotion to spectator and ones, unrequited love, loss of fame, wealth. experiencing the 'spectacle'. someones death, captivity or a similar 2. Background to ‘The Natyasastra’ misfortune, i.e the Determinants(vibhavas). But for a complete appreciation, the Bharata Muni(200B.C), the Indian spectator must witness those reproduced on performance theorist and philosopher, is the stage, the effects of all the vibhavas or credited with the formulation of the ultimate Determinants upon the actors should be text of performing arts as well the rasa made manifest through acting and as a theory and is celebrated as the father of natural consequence of the vibhavas or the Indian performative arts. Bharata’s Determinants, the characters concerned Cite this article as: Ibkar, A. (2015). The Natyasastra and Indian Cinema: A study of the Rasa Theory as a Cornerstone for Indian Aesthetics. International Journal of English Language & Translation Studies, 3(1), 80-87. Retrieved from http://www.eltsjournal.org Page | 81

International Journal of English Language & Translation Studies ISSN: 2308-5460

Volume: 03 Issue: 01 January-March, 2015 would shed tears, lament, change their gait, characters; its function is deeply engraved in posture, show drooping of their limbs, the basic storyline. The rasas have a leading to the or the dominant role to play in creating the Consequents. But another vehicle of the characters in a film. Shringara signifies Sentiments are the Complementary , love and faithfulness or devotion Psychological States (vyabhichari bhavas) and is always a strong trait of the lead and are so called because they come along female character, the pure and innocent with the Durable Psychological States and heroine. Veer rasa, which highlights vigour, strengthen the latter. In case of the Pathetic strength, courage as well as pride defines the Sentiment, which arises from not having the proud, chivalric hero. Bollywood film is desired union with the beloved or from highly dependent on all the nine rasas. being separated, there occur the following They are significant in a number of ways. Complementary Psychological States: The rasa help create the sterotypical roles indifference, languor, delusion, dejection, and exaggerated facial expressions and sadness, illness etc? Even though they are mannerisms. Quite regularly will the transitory and disappear, they are catalyst to handsome and courageous hero adopt arms experiencing the rasa. As an addition to the when crossed, show resolute indifference eight Rasa, Abhinav Gupta added a ninth when confronted with lesser characters, such rasa, the , or bliss. The ninth as the conniving mother-in-law complete rasa, philosophers argue is not a new rasa with complaints, shrill tone and wailing. The as one achieves this emotion when the other fluttering eyelashes of the innocent maiden eight rasa join together giving the audience are just as contrived and just as important a a sense of supreme fulfilment. In part of the shringara rasa. rasaesthetics Schechner(2001) has written Taking up the example of that, “ a perfect performance, should one Bollywood, one can argue that performance occur, would not transmit or express shanta in Indian cinema is very Natyasastra rasa but allow shanta rasa to be experienced oriented, unlike the modern Euro American simultaneously and absolutely by the cinema based on the methods of Konstantin performers and partakers”. (p. 32) Stanislavsky. This difference lies in every 3. Indian Cinema and the Rasa Theory aspect of Indian cinema, in the performance Indian cinema is completely based of the actors, the technique of acting, the on experiencing each rasa. Every aspect of music, sangeet, background score and even the performance in cinema must be in emotions produced by the audience, the synchronisation and performance must difference, in a word is, Rasa. Russian display to perfection every rasa. In Indian Stanislavsky created this methodology cinema, the actors, or the Rasic performers which later got developed into the basic portray their emotions even more than the code for modern theatre. This methodology actual characters they are playing thus differs from Indian cinema in its belief that conveying well the emotion to the audience, the actor should completely inhabit the spirit which is the main aim of performative art of the character to be played. Stanislavsky according to the Natyasastra. The role of the argues in favour of this idea of ‘becoming’ eight rasas is quite central to Indian cinema the character. An actor could perform only and its structure. It not only works to drive when he becomes the character completely. the plot and accentuate the behaviour of the He argued against the process of enactment Cite this article as: Ibkar, A. (2015). The Natyasastra and Indian Cinema: A study of the Rasa Theory as a Cornerstone for Indian Aesthetics. International Journal of English Language & Translation Studies, 3(1), 80-87. Retrieved from http://www.eltsjournal.org Page | 82

International Journal of English Language & Translation Studies ISSN: 2308-5460

Volume: 03 Issue: 01 January-March, 2015 as theorised by Bharata in Natyasastra. Stanislavsky and becomes one with the Natyasastra believes that the conveyance of character that the movie demands rather than the emotion is important and hence gives becoming an embodiment of the rasa. When value to the Spectacle. According to compared to movies like Coolie, this natyasastra , the enactment process has four performance stands out as being completely steps. First is the experience of the poet, Anti-Rasic. The actor is a dull eyed, lost, then the creation of the text, i.e., slack jawed, pale, out of place twenty five reconstruction of the experience of the poet. year old throughout the movie, maintaining The actor then tries to enact the effect of the the unchanging personality even when he is experience on the poet, in the last stage the tortured by the police or is losing his audience recreates the experience that the beloved ill-fatedly, never utilising the scope actor portrays. But Stanislavsky believes of expressing the emotion that would quite that the actor must not transpose his obviously burst out of the actor to reach the understanding and interpretation of the audience in traditional desi Indian cinema. character to his performance for there is Acting or Abhinaya,according to the always a possibility that the depiction of Natyasastra, involves not only action but a emotion might change from its original form myriad of other activites. Explaining and conception. Stanislavsky believes that Abhinaya, Bharata(trans. 1995), speaks of an actor should aim at becoming a living four kinds of acting: Angika abhinaya, breathing embodiment of the character than vachik abhinaya, aharya abhinay and just trying to convey an emotion, for a sattyika abhinaya. The communication character is more important than the actor in through body movements, which involves the bigger picture of the story. Performances the movements of major limbs like head, inspired and influenced by Stanislavsky, as chest, hands and feet as well as expression Matthews(2009) has stated, “rely on the through facial features like eyes, nose, lips, development of a character through the cheeks, chin etc. and conveys meaning actor’s embodiment of the character and through glances, gestures, gaits is angika allowing the emotion created by the story to abhinaya. The communication by speech is flow inside out” . (P. 38) called vachik abhinaya. This aids the This is precisely what differentiates audience to experience rasa through the between the Euro American cinema and the power of language. In this, the vowels, Indian cinema. Indian cinema relies mainly consonants and their places of origin in the on the Rasa and the idea of the Spectacle. mouth, pitch, tone, intonation, modes of The performance of the actors is but a address vary in order to create the medium to channelize the emotion from the spectacle. Natyasastra gives a lot of movie to the audience. A comparison importance to aaharya abhinay. It involves between some aspects of the movies discussing the importance of heavy make Slumdog millionaire, Rang De Basanti and up, dresses that complement the role and Coolie reveals well the difference between decorating the actor's hair and body with the two theories and also the dependence of ornaments, jewellery and garlands. Aaharya Indian cinema on the Rasa theory. In abhinay is this very extraneous Slumdog Millionaire, the British actor representation done by means of costumes, portraying the character of Jamal Malik make up, ornaments, stage decorations and strictly adheres to the method of props. Representation of internal mood and Cite this article as: Ibkar, A. (2015). The Natyasastra and Indian Cinema: A study of the Rasa Theory as a Cornerstone for Indian Aesthetics. International Journal of English Language & Translation Studies, 3(1), 80-87. Retrieved from http://www.eltsjournal.org Page | 83

International Journal of English Language & Translation Studies ISSN: 2308-5460

Volume: 03 Issue: 01 January-March, 2015 temperament of the character through acting perfection, hence failing to uphold the is called Sattvika Abhinaya. In Natyasatra, essence and spirit of Indian cinema, the rasa Bharata (trans. 1951) wrote that it is the theory. highest of abhinaya expressing the Indian cinema, chiefly, creates rasic inner feelings of the character by subtle performance. Hogan(2003) wrote, “The facial expressions, like the movements of most common primary rasas in Indian lips, nose, trembling of body, sighs, heavy cinema are the romantic and the sorrowful/ breaths, turning the face red, rolling down pathetic".(P.40) He believes that the most the tears etc. Not only this, Bharata(trans. elemental and essential human emotions are 1951), in Natyasastra, also talks about how love and sorrow and hence the most the external environment like the time of the displayed rasa are the Karuna rasa and the day and climatic conditions too can be Shringara rasa, which makes Indian cinema enacted on stage to give the audience a circle around Melodrama and romance. complete pleasure of experiencing the rasa. Even though Indian cinema emphasises on He describes how to represent the Shringara and karuna rasa, it rarely has phenomena like sunrise, sunset, different movies that display just one core emotion. It times of the day, rains can be enacted which also encompasses (generally) hasya rasa calls Chitrabhinaya. Indian cinema, and adbhuta rasa alongside, aiding the especially Bollywood, quite evidently makes primary rasa. Not only melodramatic but use of all this technique to convey, didactic filmmakers are also largely melodramatically, the emotion to the dependent upon the rasa. Hogan(2003) has audience; quite contrary to the Euro written, “didactic works in India are no less American cinema where the main target to inclined to use rasa aesthetics than are the be achieved is becoming the character, as works of simple . Indeed per Stanislavsky method. didactic works rely overtly on the Indian cinema, which is strictly empathetic characters of rasa. The creation, Rasic in nature, opens up the possibility of sustaining and enhancement of the an actor playing a wider range of roles of empathetic feeling is almost invariably any age or nature. In Coolie (A movie by central to the works that set out to cultivate a Raj and Desai 1983) Amitabh Bachchan, commitment to social ethics on the part of a then nearly forty, plays the role of a twenty reader or viewer.”(P.41) The rasa theory year old porter because the emphasis here is emphasises solely on conveying an emotion not the actor embodying perfectly the to the audience and hence uses karuna rasa character but on right and perfect as the most prevalent rasa in order to arouse conveyance of emotion. Dev Patel in empathy. Slumdog Millionaire becomes the character Indian cinema, for decades, uses but misses by a huge margin the characters coloured in broad strokes who transmission of emotion required in such a exhibit strong emotions because according tale of morbidity, hopelessness and the last to the Natyasastra formula, a perfect rasic triumph that the movie is. That is where the performance requires a perfect conveyance primary reason of the failure of the character of emotion rather than a perfection in of Jamal Malik lies, it treads into the characterisation. The film Rang de Basanti territory of rasa or the Indian cinema yet (2006) is probably the best example that fails to understand or achieve a rasic depicts strong reliance on the rasa theory. Cite this article as: Ibkar, A. (2015). The Natyasastra and Indian Cinema: A study of the Rasa Theory as a Cornerstone for Indian Aesthetics. International Journal of English Language & Translation Studies, 3(1), 80-87. Retrieved from http://www.eltsjournal.org Page | 84

International Journal of English Language & Translation Studies ISSN: 2308-5460

Volume: 03 Issue: 01 January-March, 2015

The movie, focusing on the Indian freedom the other and in the form of the final dessert, struggle, corruption of the politicians, the Shanta rasa is served, as the performance rebellion against the colonisers, deaths, is transcends into a pure display of emotion. complete with typical Bollywood Dance Hence, the formulaic pattern, that Indian sequences, music and background score. cinema adopts, is to prolong the display of The film quite evidently has Veer rasa for the audience to help them achieve rasa(vigour/energy), Hasya Rasa( laughter), the pure singular emotion that the Sentiment adbhuta(wonder and amazement) in the first imparts. half of the film. Later, the tone changes to a Bollywood, in its contrivance to give darker shade with the karuna rasa, the audience the pleasure of the spectacle, bhayankar and vibhatsa rasa dominating the relies on the formulaic use of dance and atmosphere. The change is quite perceptible, music. Indian aesthetics always believed that enough to make the audience squirm in their the emotional response in the audience is seats. The characters change from being always crucial to art and hence the loving and young to hard minded resolute predominance of the rasa theory. Indian revolutionaries fighting for a cause against cinema borrows the idea of music from the prevalent corruption. This movie, one can Natyasastra. A lot of importance is given to argue, is a didactic film, as it comes under music in Natyasastra, wherein about nine Hogan’s definition of a didactic work, being chapters have been dedicated to music. a piece of art, as Matthew(2009) has stated, Bharata(trans. 1995) in Natyasastra, in the that through engendering of empathy causes chapter on vocal and instrumental music, the audience to change their or describes (a musical note) and its use increase their knowledge about certain in expressing particular aesthetic sense i.e. events.”(P.40) Even in this movie, as the Rasa. movie wants to make a social impact and According to Bharata’s(trans. 1995) consequently bring about revolutionary Natyasastra , music is created through 4 changes, then it too relies on the depiction of kinds of instruments. Stringed instruments the rasa to arouse that empathy in the are called Tata. Wind blown instruments are audience leading to the birth of rebellious called Sushira. Percussion instruments are emotions that will further their social called Avanaddha and Cymbals are called progressiveness. Schechner(2001) in Ghana. The stringed instruments like veena Rasaesthetics writes that “rasa is flavour, are of different types. He also emphasises on taste, the sensation one gets when food is the effect created by each aiding to the perceived, bought within reach, touched, achievement of the sentiment. The third taken into mouth, chewed, mixed, savoured group is cymbals, like manjira and zanza. and swallowed.”(P.29) Following the same They supply rhythm, i.e. taal. Taal is , Indian cinema too gives the audience derived from tala, i.e. stability. Taal is the enough time to savour and experience the foundation necessary for music. It is emotion conveyed by the film through its indicated by clapping of hands also. Bharata plot, subplots and multi-layered events for a (trans. 1995) describing, various taals, has running time of about three to four hours. emphasized how vocal and instrumental To the spectator, then, Indian cinema is but a music and dance should accompany each feast where the various rasa portrayed by other to help the audience experience the film is displayed, one course arrives after pleasure that will lead to them experiencing Cite this article as: Ibkar, A. (2015). The Natyasastra and Indian Cinema: A study of the Rasa Theory as a Cornerstone for Indian Aesthetics. International Journal of English Language & Translation Studies, 3(1), 80-87. Retrieved from http://www.eltsjournal.org Page | 85

International Journal of English Language & Translation Studies ISSN: 2308-5460

Volume: 03 Issue: 01 January-March, 2015 the singular spiritual freedom, rasa. The occasioned by no specific need; it has come fourth group is of wind-blown instruments into use simply because it creates beauty. As like flute. These instruments are hollow and dance is loved naturally by almost all have holes to control the air flow. The flute people, it is eulogised as being auspicious. It is the major instrument while conch, is the source of amusement on many tundakini are the subordinate ones. The occasions. Siva too was pleased to say,“ shahnai too comes under this category. Flute perform dance in connection with singing has deep rooted importance in Indian songs”.(P.51) Dance, in Bollywood, culture. The magic created by according to the formula of the through the enchanting magic of his flute is Natyasastra, gives pleasure to the audience but an evidence of Bharata’s argument how and does it through the use of heavy music helps to get the rasas across. costumes, make up, props, jewellery Bollywood borrows from expressive body movement and graceful Natyasastra the sutra of both dance and expressions. music. Bollywood uses music to create Screenwriting in Indian cinema too songs, background score and dance, all of is completely on the codes given by the which are equally essential in getting the Natyasastra. The purpose of performative sentiment across to its audience. Songs give art, as Natyasastra argues, is the Spectacle. emotional valence to otherwise ambiguous The purpose of Indian cinema too, as it is scenes. The music aids the audience to get a quite evident, is to engage, entertain, better grip of the actions happening in the enlighten, disturb, occasionally challenge movie. The actor may be walking about his but finally satisfy the spectator. Natyasastra home happily, blissfully unaware that a often gives the analogy of a satisfying meal bomb set to blow up soon is going to kill that has a myriad of spices and ingredients him, but the audience may be made aware of perfectly and expertly mixed. In films too, it by an ominous music that foretells the this very essence of life can be captured and disaster making them grasp their seats in presented to the spectator. Indian cinema fear and anticipation. Also music is required does try to create this very ‘organic mix’ by because once the audience begins to grasp fusing rasa theory with every form of the the relevant emotion, mood congruent screenplay. The legendary filmmaker, processing enhances the effect. Music in the Satyjit Ray, believed that to create spectacle form of proper background score aids the the screenwriting should be done strictly emotional experience to reach a higher level. along the lines of the rasa theory. In his The flute sequence in Sholay is not merely famous cinematic translation of an isolated piece of music but rather its Bibhutibhushan’s novel , he significance is woven into the structure and follows the rasa theory as defined by the A plot of the movie. It is not merely the K Ramanujam, “in each man’s history there background score but it helps build the are feelings (bhavas) of all sorts, and the atmosphere of terror of the villain creating poeticians single out eight of these: love, ominous silences in anticipation of evil. mirth, grief, energy, terror, , anger, Indian cinema has a number of dance and wonder. Each of these is, in the poetic performances as well, portraying mostly the context, transmuted into a corresponding sringara rasa. Bharata(trans. 1995) in mood (rasa). They carry with them all the Natyasastra has stated, “It is said dance is physical phases of their expression, their Cite this article as: Ibkar, A. (2015). The Natyasastra and Indian Cinema: A study of the Rasa Theory as a Cornerstone for Indian Aesthetics. International Journal of English Language & Translation Studies, 3(1), 80-87. Retrieved from http://www.eltsjournal.org Page | 86

International Journal of English Language & Translation Studies ISSN: 2308-5460

Volume: 03 Issue: 01 January-March, 2015 allied feelings, their dominants and their About the Author consequents in emotional behaviour. Each Alisha Ibkar is a postgraduate in Literature mood has a characteristic set of these, and it from the Centre for English Studies, School Of is on this fact that the whole analysis of Language, Literature and Culture Studies, dramatic performance is based”( as cited in Jawaharlal Nehru University, Delhi, currently Cooper, 2000. P.3) pursuing her PhD in Bengal Folk Theatre from Not only on feeling, but Satyajit A.M.U, Aligarh. Her specific areas of interest Ray’s doctrine rests predominantly on are postcolonial literature and Indian conveying and chanelling it in an artistic philosophy. Her research interest lies in the genre of Indian English Literature, specifically, way to the spectators. the study of language and how it functions in understood well this imbrication of rasa. postcolonial texts. She also has a steadfast His awareness of this very sutra is evident in fondness for Slam of Sarah Kay and Phil all his films. He has written “Experience Kaye. She also works as an Editor of tells us that the subtlest of emotional states Literophile, a student initiated literary journal to affects a person’s speech and behaviour and promote research in culture studies. such revealing speech and behaviour is at References the very heart of cinema’s eloquence.”(as Bharata. (1995). The Natyasastra (Manmohan cited in Cooper, 2000, P.4) Ghosh, Trans.) (3rd ed). West Bengal, WB: 4. Conclusion Miscellany Incorporation. It can be concluded by saying that Cooper, D. (2000). The Cinema Of Satyajit Ray: Between Tradition and Modernity, p.3. Indian cinema is completely based on Cambridge, UK: Cambridge university press. Performance aesthetics. The depiction of Hogan, P. (2003). Rasa Theory and rasa and channeling it to the audience is the Theory: From The Home and the World to quintessential aspect of Indian theatre and Bandit Queen. Quarterly Review of Film and cinema. Rasa theory is the very essence of Video, 20(1), 40, 37-52 what makes Bollywood unique and eternal Matthew, J. (2009). Bollywood, Rasa and and it constitutes but the very structure and Indian Cinema: Misconceptions, Meanings and backbone of Indian cinema. Millionaire. Visual Anthropology, 23(1), 38, 33- 43. Retrieved from http://dx.doi.org/10.1080/08949460903368895 Schechner, R. (2001). Rasaethetics. The Drama Review, 45(3), 29, 27-50. Retrieved from http://www.jstor.org/stable/1146911

Cite this article as: Ibkar, A. (2015). The Natyasastra and Indian Cinema: A study of the Rasa Theory as a Cornerstone for Indian Aesthetics. International Journal of English Language & Translation Studies, 3(1), 80-87. Retrieved from http://www.eltsjournal.org Page | 87