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.
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If nothing else, this essay has proven the synthesis of Aristotelian and unconventional tragic elements, through the use of the tragic hero, the three unities and the support of a cathartic response from the audience. Also though, with disregard to many Aristotelian rules, to create perhaps not a dramatic success by Aristotle?s ideals, but undoubtedly an effective and challenging text which is Medea.
Aristotle was said to be the most memorable philosopher in Roman Times. Being in a part of the lower-class, he had more opportunities than the people in his same social class. With these opportunities, Aristotle took full advantage of them and built a life for himself. Throughout his lifetime, he accomplished many things. Aristotle’s findings have proven throughout the many years they have been useful. 1
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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.