PROBLEMATIZING PREVALENCE OF RASAIN THE PLAYS OF MAHESH DATTANI

Abstract

Natyashastriya theory of Rasa is a spirit so abstract that can only be suggested, not described in any work of visual, literary or performing art. Rasabhasa, a concept from Bharata Muni’s Rasa theory, alternatively nomenclated as a semblance of Rasa interestingly appearsparallel to Rasa but is not Rasa. Bharatmuni reiterates the relishing of Rasa or Rasabhasa from a conditional amalgamation of Bhava (emotions), Alambana Vibhava (protagonist), Uddipan Vibhava (environment) and Vyabhicharibhava (transitory emotional feelings) in the protagonist i.e. the one who leads (NayatiItiNeta). The conditionality isfurther enunciated emphasizing that not all protagonists relish Rasa or Rasabhasa distinctively in a dramatic performance. Modern plays with their stark distinctions from the ancient Indian plays like Abhigyanshakuntalam portray multilayered characters dealing with the questions of identities in various spatialities and temporalities at a glance do not seem insinuated with the characteristics underpinned in Natyashastra. These distinctions and coming away from the thematic contextualization of ancient Indian plays enshrouds the idea of Rasa Relish. Dattani’s On a Muggy Night in Mumbai and Seven Steps around the Fire explicitly raise gender and identity issues of LGBT community, in dealing with their thematic structure and characterization reveal relishing of Rasa or Rasabhasa. The paper critically problematizes the translational affinities between Rasa and Rasabhasa, also aspires to explore two plays by drawing on the concept of Rasabhasa. (Re) interpreting Rasa and Rasabhasa in the context of modern LGBT plays is the central premise of this research paper.