IKS
Module 3: Unit 6 (Selective): Natyashastra
Q 1. What is the Natyashastra? Give an account of its ‘Rasa theory’.
Answer: The Natyasastra, is an ancient Indian treatise on the performing arts. It was written
by sage Bharata and is explicitly acknowledged as a foundational text dealing with all aspects
of Indian classical arts, including drama, dance, music, and theory of aesthetics. It contains a
complete outline of guidance on aspects of performance, staging, and expressions. It has
effectively set the groundwork for Indian classical dance and theatre traditions, including
Bharatanatyam, Kathakali, and Sanskrit dramas.
At the heart of the Natyashastra lie the doctrines of Rasa (or rasa theory), which explains how
emotions are conveyed in the performing arts. Rasa refers to the sense of emotion that is evoked
in the audience. Nine chief Rasas are referred to in Natyashastra. They are – Shringar (love),
Hasya (humor), Karuna (compassion), Raudra (anger), Veera (heroism), Bhayanaka (fear),
Bibhatsa (disgust), Adbhuta (wonder), and Shanta (peace). These are achieved through a
combination of physical expressions, gestures, verbal utterances, and even music. The Rasa
theory posits that the purpose of art is to evoke these emotions, allowing the audience to
transcend their everyday experience and achieve aesthetic enjoyment or Rasanubhava.
Q 2. Give an account of the origins of Natyashastra
Answer: The Natyasastra, is an ancient Indian treatise on the performing arts, attributed to the
ancient sage Bharata. The advent of this seminal work is estimated between the 2nd century
BCE and the 2nd century CE. Therein were laid down comprehensive rules and guidelines
governing dramatic performance, dance, music, and aesthetics. No other treatise on dramaturgy
and performing arts is as old as the Natyashastra. Sage Bharata codified the different aspects
like stage design, costumes, makeup, expressions, and character roles. The Natyashastra
became a cultural and artistic guide through antiquity and the medieval period in India,
influencing not only performing arts but also temple architecture and literature alike; indeed,
even today, its influence can be seen in classical Indian art forms.
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Q 3. Briefly describe the structure and content of Natyashastra.
Answer: The Natyashastra has been systematically designated into 36 chapters, with an
impressive 6,000-plus verses, treating every aspect of theatrical production and performance.
The work opens with a cosmological frame explaining the divine origins of drama and its
purpose – moral and spiritual guidance through entertainment. The Natyashastra expands on
the performance aesthetics that found a theoretical base in Rasa, an important aspect of Indian
art. Apart from Rasa, the other aspects of the Natyashastra that are provided practically include
all higher prospects of theatrical production, stage design, music, costumes, makeup, and roles.
The work also offers a classification of facial expressions, body movements, and gestures.
Besides, it works on the rules for composing dramas and sets forth the character types, and
part-play skills for acting. In this way, the great work makes the Natyashastra not only for the
guidance of the practitioners but also as a foundational work for an understanding of Indian
aesthetics and cultural values on art.
Q 5. Write a note on the integration of spirituality and performance in Natyashastra.
Answer: Natyashastra rings performance, an art form, beyond its temporary act of offering
pleasure into a sacred enactment with eternal value. It views performing arts as a kind of
transcending development of rasa, an evocative state, where through both inner and outer
contact, the performer and audience participate together in the divine play. The shared
experience of theatrical performance transcends the spectator's consciousness from the level of
commonness to deeper levels of emotional and spiritual awakening. Thus, the Natyashastra
sees the actors as mediators between divinity and humanity; having achieved that, they inspire
the audience to a thoughtful self-reflection, sympathy, or other modes leading to the
purification of self. Thus, performance in Natyashastra is not considered a mere physical
display, but rather a total manifold that synchronizes body, mind, and spirit to facilitate meeting
and relating with audiences towards cosmic order and unity.
Q 6. What is abhinaya? What are its four types?
Answer: According to Natyshastra, abhinaya refers to the art of expression in Indian classical
dance and theatre. It is central to conveying emotions, moods, and narratives. In more
appropriate terms, it means "leading an audience towards" the experience (bhava) of a
sentiment (rasa) by the performer. Abhinaya helps performers embody characters, situations,
and stories through detailed expressions, gestures, and movements.
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According to the Natyashastra, abhinaya can be classified into four types:
i. Angika Abhinaya: It refers to the expression through body movements, including
gestures, postures, and facial expressions, used to depict emotions and actions.
ii. Vachika Abhinaya: Verbal expression through speech, dialogue, or accompanying
lyrics that help convey the narrative or mood is called vachika abhinaya.
iii. Aharya Abhinaya: Visual expression, including costumes, makeup, and props, that
sets the context and enriches the portrayal of characters is known as aharya abhinaya.
iv. Sattvika Abhinaya: The most refined form, involving genuine emotional expressions
like tears or blushing, creating a deep connection with the audience is termed as sattvika
abhinaya.
Q 7. Write the modern-day relevance of Natyashastra.
Answer: Written more than two thousand years ago, Natyashastra, in the present times is one
of the most important texts on Indian performing arts affecting not only the dance and drama
of India but also those in other countries. Its Rasa theory, which involves the evocation of
human emotions in the performance, continues to mould the structure and imagination of
performing artists. Using proper Rasas, the artists can portray their messages in a way that the
audience can connect with their art. The Natyashastra is also relevant in the application of a
blended art/ethics-oriented approach in contemporary dance, where the body, mind, and
emotions all work together to achieve a higher authenticity and depth of expression.
The text's focus on the ethical and spiritual dimensions of art finds a great deal of resonance
with current movements toward appreciative and transformative art practices, which indicate
how performance can foster compassion, reflection, and healing in a community. The
Natyashastra enriches interdisciplinary endeavours in anthropology, psychology, and
aesthetics, imparting insights that linger on human emotion and social behaviour. An eternal
guide to the performing and artistic life, it continues to serve artists and scholars alike, linking
age-old wisdom and contemporary professional life.
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