Revisiting Bharata’s Rasa Theory: Relevance, Applications, and Contemporary Interpretations

Abstract

Bharatamuni is a well-known author who introduced the idea of Indian theatre and drama, where the concept of Rasas emerged and it was discovered that all aspects of India’s eroticist culture, such as dance, singing, make-up, and artistic expression, are all included in different Rasas. The discussion includes music, stage design, makeup, dance, and all other theatrical methods as well as the elements of stagecraft and how they affect the human psyche. The theory of “Rasa,” which describes a dynamic interaction between the artist (the reactor), artistic expression, and the audience, is a significant addition to this work. Rasa refers to the aesthetic pleasure, thrill, or ecstasy that invariably comes along with the play’s enactment through poetry, music, and action. In his Natyasahstra, Bharata generally analyzes eight Rasas. This essay has looked at many Rasa concepts and how they can still be found in Indian English literature. An historic Indian aesthetic theory called Bharata’s Rasa Theory has a lot to say about literature and the performing arts. This study intends to investigate the varied facets of Bharata’s Rasa Theory by looking at its background, underlying ideas, and modern applications. The study aims to provide light on this theory’s ongoing significance, applicability, and possibility for adaptation in contemporary artistic practices by exploring its numerous facets.