Government of IndiaThe rasa theory: its meaning and relevance
Author: Saxena, S. K.
Keywords: Rasa Theory
Aesthetics
Issue Date: 2002
Publisher: Sangeet Natak Akademi, New Delhi
Description: The rasa theory of Bharata Muni has evoked at least as much scholarly debate as the Aristotelian theory of tragedy. What is more, its life as a determinative force of actual artistic practice has perhaps been longer than that of the Greek theory. The purpose of this essay is essentially interpretative. But it is also exploratory in the sense that it seeks to consider if Bharata's theory is applicable also to some such art forms as non-dramatic poetry and Kathak dance, to which it has not been convincingly related so far. If other art forms have to be left out, as is indeed unavoidable it is due to two main factors: first, Author's own limitations; and, second the fact that Kathak is perhaps the only one of our major dance forms in respect of which no one has tried to show in detail the relevance of the rasa theory.
Source: Sangeet Natak Akademi
Type: Article
Received From: Sangeet Natak Akademi
| DC Field | Value |
| dc.contributor.author | Saxena, S. K. |
| dc.date.accessioned | 2017-07-11T03:17:10Z |
| dc.date.available | 2017-07-11T03:17:10Z |
| dc.date.issued | 2002 |
| dc.description.abstract | The rasa theory of Bharata Muni has evoked at least as much scholarly debate as the Aristotelian theory of tragedy. What is more, its life as a determinative force of actual artistic practice has perhaps been longer than that of the Greek theory. The purpose of this essay is essentially interpretative. But it is also exploratory in the sense that it seeks to consider if Bharata's theory is applicable also to some such art forms as non-dramatic poetry and Kathak dance, to which it has not been convincingly related so far. If other art forms have to be left out, as is indeed unavoidable it is due to two main factors: first, Author's own limitations; and, second the fact that Kathak is perhaps the only one of our major dance forms in respect of which no one has tried to show in detail the relevance of the rasa theory. |
| dc.source | Sangeet Natak Akademi |
| dc.format.extent | 3-39 p. |
| dc.format.mimetype | application/pdf |
| dc.language.iso | en |
| dc.publisher | Sangeet Natak Akademi, New Delhi |
| dc.subject | Rasa Theory Aesthetics |
| dc.type | Article |
| dc.identifier.issuenumber | 2 |
| dc.identifier.volumenumber | 37 |
| dc.format.medium | text |
| DC Field | Value |
| dc.contributor.author | Saxena, S. K. |
| dc.date.accessioned | 2017-07-11T03:17:10Z |
| dc.date.available | 2017-07-11T03:17:10Z |
| dc.date.issued | 2002 |
| dc.description.abstract | The rasa theory of Bharata Muni has evoked at least as much scholarly debate as the Aristotelian theory of tragedy. What is more, its life as a determinative force of actual artistic practice has perhaps been longer than that of the Greek theory. The purpose of this essay is essentially interpretative. But it is also exploratory in the sense that it seeks to consider if Bharata's theory is applicable also to some such art forms as non-dramatic poetry and Kathak dance, to which it has not been convincingly related so far. If other art forms have to be left out, as is indeed unavoidable it is due to two main factors: first, Author's own limitations; and, second the fact that Kathak is perhaps the only one of our major dance forms in respect of which no one has tried to show in detail the relevance of the rasa theory. |
| dc.source | Sangeet Natak Akademi |
| dc.format.extent | 3-39 p. |
| dc.format.mimetype | application/pdf |
| dc.language.iso | en |
| dc.publisher | Sangeet Natak Akademi, New Delhi |
| dc.subject | Rasa Theory Aesthetics |
| dc.type | Article |
| dc.identifier.issuenumber | 2 |
| dc.identifier.volumenumber | 37 |
| dc.format.medium | text |
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