There are distinct differences between the theories outlined within Aristotle’s Poetics and Bharata’s The Nāṭyaśāstra which both attempt to elaborate upon the audience relationship and the phenomenon produced relating to the theatrical experience. However, despite the dissimilarities there are components of catharsis and rasa that share common elements and ideas surrounding the creation and the effects of these experiences. Aristotle contends the cathartic nature of tragedy aids in purgation of emotion, however ultimately limiting it to the powers of tragedy as only creating this, where, contrarily, The Nāṭyaśāstra outlines the power any actor has in creating bhāva, leading to rasa. Whilst both theories do have common attributes in their aims of heightening an audience experience, it is the differentiating that outcomes that greatly affect their overall influence.
As outlined within Aristotle’s Poetics, the role of catharsis is to purify and purge the audience’s emotion through theatre, insisting that emotional change is akin to restoration and renewal of balance within the psyche. Differentiating from The Nāṭyaśāstra’s concept that rasas are only generated by bhāvas, Aristotle states catharsis occurs only from tragedies, which, he contends, is its sole source. Aristotle frequently asserts that tragedies are the only form capable of generating pity and fear, which, sequentially, is the only way the purgation, or catharsis, of an audience can manifest (The Poetics of Aristotle 10). Contrasting to the states of rasa, which are said to be unlimitedly generated from an actor’s bhāva, Aristotle insists that only tragedies have the right elements to create an impactful catharsis, thus limiting its occurrences. Furthermore, this no...
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...n of spiritual transcendence. Ultimately, the audience experience of rasa is akin to catharsis of ancient Greek theatre, but at the crux, rasa exceeds these core similarities and extends into affecting not only the mind but the overall psychological, physiological and spiritual states of the audience experience.
Works Cited
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If a character were to say the statement “to be or not to be” - from the famous Shakespearean play Hamlet – as if it were their problem within their every day self, then it is too minuscule to be interesting or important. Our current, real life emotions do not carry enough potential to be used on stage, because it is too personal and idiosyncratic (Daboo, 2007). Additionally, if the character needs to be joyous when the actor is grief-stricken, they need to use imagery to transcend this everyday self into the higher self. Therefore, the actors need to imagine the image with their body and mind corroborated, setting personal emotions
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Whether a person’s life is something experienced authentically, or factually written down as literature, there are more complexities faced then there are simplicities on a daily basis. This multifariousness causes constant bewilderment and hesitation before any sort of important decision a person must make in his or her life. When it comes to characters of the written words, as soon sensations of ambiguity, uncertainty, and paranoia form, the outlook and actions of these characters are what usually result in regrettable decisions and added anxiety for both that character as well as the reader. Examples of these themes affecting characters in the world of fiction are found in the novel The Crying of Lot 49 by Thomas Pynchon, and the play Glengarry Glen Ross written by David Mamet. Throughout both of these texts, characters such as Oedipa Maas who allows these emotions to guide her in her journey of self discovery, and Shelly Levene who is so overcome with these emotions that they become his downfall. For both of these characters, these constant emotional themes are what guide their most impulsive actions, which can generally also become regrettable decisions. Even though it is a distinguishing factor of human beings, when these characters are portrayed in print, it somehow seems to affect the reader more, because they are able to see the fictional repercussions, and also know how they could have been avoided.
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Aristotle (384-322 B.C. believed that tragedy, as an imitation or mimesis of life as it could be, held more importance than history, which simply records the past. He considered that performance of a tragedy provided the perfect cathartic experience for an audience, leaving them spiritually purified and inspired. He felt spectators seeing and experiencing great hardship befall the play’s hero or heroine would achieve this emotional state and benefit from it.
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The spectator is the last ring, the middle ring is Ion, the rhapsode or actor, and the first one is the poet himself. The god pulls people’s souls throught all these wherever he want, looping the power down from one to another. So if Ion tell a sad story, his eyes are full of tears and when he tell a story that’s frightening, or awful, his hair stands on end with fear and his heart jumps and same effects on most of his spectators too.