Rasa And Bhava

Sattvika Bhavas include (A) Svarabhanga (voice modulation), (C) Ashru (tears), and (D) Vepathu (trembling).

Bhatta Nayaka's Rasa theory is based on 'Sadharanikarana', which means the process of making the emotions of a performer universally accessible to the audience, allowing them to experience the rasa, or essence, of the emotions conveyed in a performance.

In the context of Bharatanatyam and other classical Indian dances, Vibhava is the cause or stimulus for the arousal of a particular emotion, whereas Sthayi Bhava refers to the enduring emotional state.

Vyabhichari Bhavas refer to the transient emotions that are seen in the characters while performing a dramatic expression. While Nirveda, Alasya, and Jadata are all examples of such transient states, Pralaya refers to a complete destruction, which is different in essence.

• Vismaya corresponds to Adbhuta (wonder).
• Krodha corresponds to Roudra (anger).
• Utsaha corresponds to Veera (heroic).
• Rati corresponds to Shringara (love).

Jugupsa are the primary emotions in Indian classical dance. Shringara, the emotion of love, is one of the main Sthayi Bhavas.

Human sound is produced when air passes through the vocal cords and is shaped into audible sound waves, which can be perceived by the human ear.