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Sthayibhava
''Sthayibhava'' or ''Sthyi-bhava'' (Sanskrit: — IAST Sthāyibhāva, ) is one of the essential artistic concepts in Sanskrit dramaturgy. The origin of this concept is attributed to Bharata while formulating his epic on Rasa theory in ''Natyashastra'' around 200 BC to 200 AD. Bharata has named eight Sthayibhavas corresponding to each Rasa. According to him all other aesthetic emotions in a drama viz. Vibhavas, Anubhavas, and Vyabhicaribhavas combine together and enhance a Sthayibhava which ultimately transforms into the flavor (Rasa) in a play. Overview Rasa is an essential aspect in any good art and the realization of the Rasa is a result of the integration of Stimulus (Vibhava), involuntary reaction (Anubhava), and transitory psychological states or voluntary reactions (Vyabhicaribhava). When mixing of various spices in a delicacy produces different tastes; similarly, when these different bhavas are combined produce Sthayibhava which transforms into Rasa. The concept of Sthayib ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rasa (aesthetics)
In Indian aesthetics, a rasa ( sa, रस) literally means "nectar, essence or taste".Monier Monier-Williams (1899)Rasa Sanskrit English Dictionary with Etymology, Motilal Banarsidass (Originally Published: Oxford) It connotes a concept in Indian arts about the aesthetic flavour of any visual, literary or musical work that evokes an emotion or feeling in the reader or audience but cannot be described.Rasa: Indian Aesthetic Theory Encyclopedia Britannica (2013) It refers to the emotional flavors/essence crafted into the work by the writer and relished by a 'sensitive spectator' or ''sahṛdaya,'' literally one who "has heart", and can connect to the work with emotion, without dryness. Rasas are created by ''bhavas'': the state of mind. The ''rasa'' theory has a dedicated section (Chapter 6) in the |
Shanta Rasa
Śāntarasa (Sanskrit: , occasionally spelled ''shantarasa'', ''santarasa''; ) is considered as a ninth rasa, a concept of aesthetic flavour in Sanskrit literature. According to translation of '' Abhinavabhārati'', Abhinavagupta's commentary on '' Nāṭyaśāstra'' by some experts, may be defined as: "that which brings happiness and welfare to all beings and which is accompanied by the stabilization () in the Self". It has as its stable emotion ( sthāyibhāva) as impassivity () which culminates in detachment (Vairāgya) arising from knowledge of truth and purity of mind. According to J L Masson and M V Patwardhan, who have collected the original manuscripts and translated Abhinavagupta's work, observe: the audience undergoes transcendental experience, which is basic to all aesthetic experience in a play based on . It was not included in the list of rasas mentioned by Bharata in his epic Nāṭyaśāstra. The inclusion of this rasa as a prominent one in Sanskrit poetry and dra ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sanskrit
Sanskrit (; attributively , ; nominally , , ) is a classical language belonging to the Indo-Aryan branch of the Indo-European languages. It arose in South Asia after its predecessor languages had diffused there from the northwest in the late Bronze Age. Sanskrit is the sacred language of Hinduism, the language of classical Hindu philosophy, and of historical texts of Buddhism and Jainism. It was a link language in ancient and medieval South Asia, and upon transmission of Hindu and Buddhist culture to Southeast Asia, East Asia and Central Asia in the early medieval era, it became a language of religion and high culture, and of the political elites in some of these regions. As a result, Sanskrit had a lasting impact on the languages of South Asia, Southeast Asia and East Asia, especially in their formal and learned vocabularies. Sanskrit generally connotes several Old Indo-Aryan language varieties. The most archaic of these is the Vedic Sanskrit found in the Rig Veda, a colle ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Indian Classical Drama
The term Indian classical drama refers to the tradition of dramatic literature and performance in ancient India. The roots of drama in the Indian subcontinent can be traced back to the Rigveda (1200-1500 BCE), which contains a number of hymns in the form of dialogues, or even scenes, as well as hymns that make use of other literary forms such as animal fables However, Indian drama begins its classical stage in the 3rd-4th century BCE with the composition of the Nātyaśāstra (''lit. The Science of Drama''). Indian classical drama is regarded as the highest achievement of Sanskrit literature. The Buddhist playwright, poet and philosopher Asvaghosa, who composed the ''Buddhacarita'', is considered to have been one of the first Sanskrit dramatists along with Bhāsa, who likely lived in the 2nd century BCE, and is famous for writing two of the only surviving tragedies in Sanskrit drama. Despite its name, a classical Sanskrit drama uses both Sanskrit and Prakrit languages giving ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bharata Muni
Bharata Muni (Hindi: भरत मुनि) was an ancient sage who the musical treatise '' Natya Shastra'' is traditionally attributed to. The work covers ancient Indian dramaturgy and histrionics, especially Sanskrit theatre. Bharata is considered the father of Indian theatrical art forms. He is dated to between 200 BCE and 200 CE, but estimates vary between 500 BCE and 500 CE.Dace, W. (1963). "The Concept of "Rasa" in Sanskrit Dramatic Theory". Educational Theatre Journal. 15 (3): 249. The ''Nāṭya Śāstra'' is notable as an ancient encyclopedic treatise on the arts, which has influenced dance, music and literary traditions in India. It is also notable for its aesthetic "Rasa" theory, which asserts that entertainment is the desired effect of performance arts but not the primary goal and that the primary goal is to transport the individual in the audience into another parallel reality, full of wonder, where he experiences the essence of his own consc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Natya Shastra
The ''Nāṭya Śāstra'' (, ''Nāṭyaśāstra'') is a Sanskrit treatise on the performing arts. The text is attributed to sage Bharata Muni, and its first complete compilation is dated to between 200 BCE and 200 CE, but estimates vary between 500 BCE and 500 CE. The text consists of 36 chapters with a cumulative total of 6000 poetic verses describing performance arts. The subjects covered by the treatise include dramatic composition, structure of a play and the construction of a stage to host it, genres of acting, body movements, make up and costumes, role and goals of an art director, the musical scales, musical instruments and the integration of music with art performance. The ''Nāṭya Śāstra'' is notable as an ancient encyclopedic treatise on the arts, one which has influenced dance, music and literary traditions in India. It is also notable for its aesthetic Rasa (aesthetics), "Rasa" theory, which asserts that entertainment is a desired effect of performa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
TDR (journal)
''TDR: The Drama Review'' is an academic journal focusing on performances in their social, economic, aesthetic, and political contexts. The journal covers dance, theatre, music, performance art, visual art, popular entertainment, media, sports, rituals, and performance in politics and everyday life. ''TDR: The Drama Review'' was founded in 1955 by Robert W. Corrigan as the "Carleton Drama Review" (so named because Corrigan was a faculty member at Carleton College). Corrigan took ''TDR'' with him to Tulane University in 1957 where he renamed it the ''Tulane Drama Review''. In 1962, Corrigan left Tulane for Carnegie Mellon University and Richard Schechner became editor. Schechner left Tulane for New York University in 1967 taking ''TDR'' with him and renaming it ''TDR: The Drama Review''. Erika Munk succeeded Schechner as editor in 1969. Michael Kirby became editor in 1970. In 1986, Kirby resigned and Schechner resumed ''TDRs editorship. Schechner continues as editor as of 2021. '' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Abhinavagupta
Abhinavagupta (c. 950 – 1016 Common Era, CE) was a Indian philosophy, philosopher, Mysticism, mystic and Aesthetics, aesthetician from Kashmir. He was also considered an influential Music of India, musician, Indian poetry, poet, Theatre in India, dramatist, exegesis, exegete, Theology, theologian, and Indian logic, logicianRe-accessing Abhinavagupta, Navjivan Rastogi, page 4 – a polymathic personality who exercised strong influences on Indian culture. Abhinavagupta was born in a Kayastha family of scholars and mystics who whose ancestors were immigrated from Ujjain by the great king of Kashmira, Lalitaditya Muktapida. He studied all the schools of philosophy and art of his time under the guidance of as many as fifteen (or more) teachers and gurus. In his long life he completed over 35 works, the largest and most famous of which is ''Tantraloka, Tantrāloka'', an encyclopedic treatise on all the philosophical and practical aspects of Kaula (Hinduism), Kaula and Trika (know ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Concepts In Aesthetics
The following outline is provided as an overview of and topical guide to aesthetics: Aesthetics – branch of philosophy and axiology concerned with the nature of beauty. What ''type'' of thing is an aesthetic? Aesthetics can be described as all of the following: * Branch of philosophy – ** Branch of axiology – Related academic areas * Aesthetics of music * Applied aesthetics * Architecture * Art * Arts criticism * Gastronomy * History of aesthetics (pre-20th-century) * History of painting * Painting * Philosophy of film * Philosophy of music * Poetry * Sculpture * Theory of painting History of aesthetics * History of aesthetics **History of aesthetics before the 20th century Concepts in aesthetics * Aesthetic emotions * Art manifesto * Art object * Avant-garde * Beauty * Boring * Comedy * Camp * Creativity * Cute * Disgusting * Ecstasy * Elegance * Entertainment * Ephemerality * Eroticism * Fun * Gaze * Harmony * Humour * Interpretation * Judgement ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Literary Theory
Literary theory is the systematic study of the nature of literature and of the methods for literary analysis. Culler 1997, p.1 Since the 19th century, literary scholarship includes literary theory and considerations of intellectual history, moral philosophy, social prophecy, and interdisciplinary themes relevant to how people interpret meaning. In the humanities in modern academia, the latter style of literary scholarship is an offshoot of post-structuralism. Searle, John. (1990)"The Storm Over the University" ''The New York Review of Books'', December 6, 1990. Consequently, the word ''theory'' became an umbrella term for scholarly approaches to reading texts, some of which are informed by strands of semiotics, cultural studies, philosophy of language, and continental philosophy. History The practice of literary theory became a profession in the 20th century, but it has historical roots that run as far back as ancient Greece (Aristotle's ''Poetics'' is an often cited early e ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
