Theory of Indian Classical Dance: Concepts, Terminology and Rasa–Bhava
What this domain tests
Theory items on concepts and rasa-bhava ask for exact definitions and, more importantly, for correct application of vocabulary to a described moment of dance. Typical questions: define nritta/nritya/natya; name the navarasa; identify the sthayi bhava behind a given rasa; explain the rasa-sutra.
Core rules
- Nritta is abstract, rhythm-driven movement with no meaning to convey; nritya is expressive movement carrying bhava; natya is dramatic representation including character and story.
- Tandava is the vigorous, energetic mode linked to Shiva; lasya the graceful, tender mode linked to Parvati.
- The body is analysed as anga (shira, hasta, vaksha, parshva, kati, pada), pratyanga (kandhara, bahu, prishta, udara, uru, jangha) and upanga (eyes, brows, nose, lips, cheeks, chin).
- Rasa arises when vibhava (cause or situation), anubhava (outward signs) and vyabhichari bhava (the 33 transitory states) play upon a sthayi bhava (permanent mood) in the spectator. The Natyashastra's sixth chapter sets out eight rasas; shanta is counted as the ninth in later tradition, giving the navarasa.
Worked example
A question describes a dancer whose eyes widen, hands tremble and breath catches as she watches her husband leave for the forest. Reasoning: the permanent mood is shoka (grief); the vibhava is the departure; the anubhavas are tears and trembling; the sanchari bhavas are longing and helplessness; the resulting rasa is karuna. Note that rasa belongs to the rasika who relishes it - the dancer performs bhava, not rasa.
Traps
Equating bhava with rasa; drawing karuna out of fear (bhayanaka); forgetting that the sattvika bhavas number eight and are counted separately from the vyabhichari bhavas; presenting shanta as a folk addition rather than a later codification.