Anumitivad
(-Vibhavaanubhavyavicharisanyogadrasnispatti-)
Among the four main interpretations of Bharat's Rasa Siddhant - An Indian Aesthetic theory, accomplished by the Acharya Bharat in his well-acclaimed book Natyashastra, Shree Shankuk has well explained the passage of aesthetic and the beauty behind the illustration of Acharya Bharat's -Vibhavaanubhavyavicharisanyogadrasnispatti- in the Sixth Chapter of Natyashastra. Aesthetic, a theory of beauty is a reflection of ats and emotion perhaps been one of the early pursuits of the human mind. As humans are always surrounded by emotions -the bunch of love, affection, misery, sadness, or many more. To understand the exact nature and cause of these appeals and emotions, the subject/spectators need to understand the depth of the arts or the by means of literature, gesture, or certain kind of movement that creates the meaningful/ meaningless expression. Since music and drama are the earliest arts, Acharya Bharat Rasa Siddhant inspire everyone about the accomplishment of drama and its allied subject like music, dance, and poetry. If a human conquers emotions then it is the process of salvation or it can be the inanimate life so Bharat's theory of Rasa has thrown light on the nature of dramatic experience and the delight it gives to the cultivated audience. The experience that a spectator feels while listening to music, film, drama, poetry, or any art form which makes him/her feel good or bad or undergoes a kind of certain feeling is the Rasa defined by the Acharya Bharta. The Bhav- Vibhav, Anubhao defined by the Acharya Bharat was late interpreted by many scholars. Among those renowned scholars, Shree Shankuk was one of the finest scholars who gives the different perspectives and narration of the Rasa Siddhant by Rasa.
The Rasa theory established by Shree Shankuk is basically called Anumitivad where Sanyog of the clause Vibhavaanubhavyavicharisanyogadrasnispatti is defined as the connectivity of presuming-phantasy (Anumapya- Anumapak) and Uttaptti is referring as the inference. Thus the theory of Shree Shankuk expresses that origination of the emotions is only possible by guessing the imitation of the character with a combination of Vibhav- Anubhav and Sancharbhav. Here Shree Shankuk said that the real essence of emotions is not possible in the audience however they can guess that the emotion lies in the actor/ actress is only the implication of the real hero on whom the play is being performed. Similarly, in music too a singer only can guess the real essence of emotions but can cont feel it.
The opinion of Shree Shankuk is mainly focused on the imitation of the arts where the artist only plays a role of real character on whom the drama is created and the audience may visualize the real character on the actor/ actress but he the origination of Rasa is not possible in those actors who imitate or act on a real hero, so emotions are only the part of the main character -like Radha- Krishna, Ram -Sita. However, he also says that the presuming of Rasa may be possible for the actor/ actress and they may feel the emotions of the real character but the audience only can guess the level of feeling and heartening emotions of Radha - Krishan by seeing the actor/actress. The philosophy behind the Principle of Shree is based on the Nayashastra where an audience guess the origination of emotion is only presuming like the relation of Fire and Smoke- 'यत्र यत्र धूम: तत्र तत्र वह्नि: means if smoke is seen it can be assumed that the existence of fire. This means the rasa originated in the Nayak/ Naika is like the smoke and the real Rasa lies in the original character like fire and it can be guessed by observing the artist performing the play.
Shree Shankuk's interpretation of Rasa Siddhant was basically based on the Nyayashastra of Vedic literature. His observation was based on the audience's- actors' role in the process of creating emotions thus he further explains that Rasa lies in the actors' skillful imitation of the main character on which he/she is playing a role. It means a Nayak playing the role of Ram gets delighted as he can infer the character of Ram's emotions on the strength of his multiplication. Shree Shankuk has clearly mentioned that the center of the rasa even lies in the main character Ram/Sita but with skillful imitation, Nayak/ Naika can delight it, but the audience who are watching the drama may feel that the actor is copying the character of an original character.
The interpretation of Shree Shankuk was indeed a step forward that the Bhat Lolatt but still, there is a lack of connection between the origination of Rasa and the emotions. He explained that the feelings are presumed but not in the audience. His concept of feeling has a vast deviation and says that if the audience feels any emotional attachment to the real character like Ram- Sita, Radha- Krishan then it might be the sin of thinking so thus the Rasa cannot be lies in the spectators only in real character and it can be guessed by observing the actor/ actress of the play.
Continue.......
Bhat Nayak will be in net article
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