NAVARASA SADHANA

From : 03/10/2022

To : 03/25/2022

Start time : 10:00 AM

End time : 12:00 PM

Theatre Group : NATANAKAIRALI

Faculty : Abhinaya Guru Venu G.

Venue : Online � Zoom Platform

The Navarasa-s are the nine human expressions that, much like the Saptha Swara-s (Seven Notes) of Indian music, touches the senses deeply. Practicing them regularly helps to awaken not only the acting skills of the actor / actress but creativity as well. It is possible to augment the skills and concentration of even an average student through the practice of this.

Navarasa describes the nine states of emotional "tastes" namely Sringara (Love), Adbhuta (Astonishment), Vira (Energetic), Raudra (Anger), Bhayanaka (Fear), Karuna (Pathos), Hasya (Mirth), Bibhatsa (Disgust) and Shanta (Tranquillity). Rasa is the taste/flavour/feeling, a cumulative result of Vibhava(the causes), Anubhava(the manifestations ) and Vyabhicari bhava (transitory emotions).
The Natya Sastra carefully described Bhavas (emotions) which lead to the respective Rasa-s. Together with breath, concentration, dedication and the different Bhavas running through the actor, a flavour arises and is passed on to the spectator, 'Rasa' is achieved.

The studies of the natyasatra undertaken at the Abhinaya Kalari (acting laboratory) of the Kodugallore royal family from eighteenth century onwards in Kerala by generations of scholars and practitioners, has been immensely beneficial to the enrichment of the acting dimensions in Kutiyattam and Kathakali. The biggest contribution of this acting laboratory was it's recognition that the Navarasa are the very core for an actor's training. The enactment of the nine rasa is not something one does simply with facial muscles; rather their, experiments with these nine rasa at the Abhinaya Kalari became very serious investigation into acting. One such discovery was that of the breath of rasa (Rasavayu) which pertained to the breath of each rasa. Here, it was not the superficial enactment of Navarasa. On the other hand, the focus was upon transforming the experience of the emotion within the actor's mind into internal and then external emotion to the maximum possible depth or extent.

As a result of my research and teaching experience I have developed "Navarasa Sadhana" in a way that will be useful for those who practice different acting styles. This process is the result of a stylization based on bringing together of every bhava to certain exercises related to the sensory and the physical realm culled out from everyday life experiences. This Sadhana gave a new energy to the theatre and dance students in the way they conceived characters and helped refining their concentration.

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