Abhinavagupta’s views on Rasa – Abhinavagupta gave importance to two terms in the Rasasutra: Samyoga (conjunction or combination) and Rasa-nispattih (manifestation of Rasa). He believed that, during a performance, the permanent emotions in the mind (sthayibhavas) of the individual are excited to produce Rasa in the viewer’s mind. Rasa is created only in art and real life incidents only evoke emotions and not Rasa.
Sadharanikarana – Abhinavagupta said that while watching a performance, the individual goes beyond the realm of the personal (he/she goes beyond himself/herself). He/she is transported from the personal to the general or universal. That is when the viewer experiences Rasa. This process is called Sadharanikarana.
Mammata’s views on Rasa – Mammata said that bhavas alone cannot lead to the realization of Rasa. They are only one of the reasons.
Bhatta Nayaka: Bhavakatva and Bhojakatva – Accordingto Bhatta Nayaka,Rasa cannot be created or produced. The work of art generates Rasa in the mind of the viewer, reader or listener. It is made possible because of Bhavakatva and Bhojakatva. Bhavakatva is the power which makes the individual characters, settings and incidents universal. Bhojakatva is the process of experiencing the universalized elements in drama or poetry leading to Rasa.
Bhatta Tauta on Rasa – In his work Kavya Kautuka, Bhatta Tauta says that a dramatic presentation is not a mere physical occurrence. The actor on stage is not an individual, but a character created by the writer. This is how the audience experiences the performance. This along with setting (stage setting) and music contribute to the enjoyment of the play (realization of Rasa). The memories, past experiences and associations of the viewer also play a role in this experience. This is known as Rasasvadana, Camatkara (read as chamatkara) or Carvana (read charvana).
Alaukika – Universalization happens at two levels. The work of art presents before us a situation and corresponding emotions which are universal in nature. Similarly the effect of this representation is also universal in nature. By universalization we mean that they do not refer to a particular individual or a particular incident. They represent all the people and their affairs. Each individual comes to the performance with his own experiences, feelings etc. which also play a role in his understanding and enjoyment of the play. This element of going beyond the particular and the individual to general and universal is known as Alaukika.
Dhvani – Anandhavardhana combines Rasa theory with his Dhvani theory. Dhvani is the technique of expression, while Rasa is the effect. It is through Dhvani that emotion is expressed through suggestion and it gives charm to the work of art. Thus Dhvani is essential for the realization of Rasa.
