Author: Ram Krishnamani Date: January 8, 2025
Narrated by Shantha :
Chapter 7: Theory Behind Performing Arts
In Shall We Dance, Chapter 7 delves into the foundational theory behind performing arts, emphasizing their profound interconnection with culture, spirituality, and human expression. The chapter offers an in-depth exploration of the principles and philosophies that shape classical Indian art forms like Bharatanatyam, while also drawing parallels to global performing traditions, making it a universal study of artistic expression.
The Philosophy of Performing Arts
The chapter begins by examining the philosophical underpinnings of performing arts, rooted in ancient Indian texts like the Natya Shastra. Authored by Sage Bharata, this seminal treatise codifies the science and art of performance, encompassing dance, drama, and music. According to the Natya Shastra, performing arts serve as a medium to reflect the Navarasas (nine emotions)—joy, sorrow, anger, fear, love, disgust, wonder, courage, and peace. These emotions transcend cultural and linguistic boundaries, allowing performers to connect with audiences on a deeply emotional and spiritual level.
The theory extends to the concept of Sangeeta (music), Abhinaya (expression), Mudras (gestures), and Tala (rhythm), all of which harmonize to create a captivating performance. The chapter elaborates on how these elements are not merely technical constructs but are steeped in spiritual significance, designed to elevate both the performer and the audience to a higher state of consciousness.
Cultural Relevance and Historical Context
The chapter traces the historical evolution of performing arts, highlighting their integral role in temple rituals, royal courts, and societal celebrations. Bharatanatyam, for instance, originated as a form of worship, performed by devadasis in the temples of Tamil Nadu to honor deities and narrate mythological stories. Over time, these art forms transitioned from spiritual offerings to staged performances, adapting to changing societal contexts while retaining their intrinsic essence.
The chapter also explores the global relevance of performing arts, showcasing how the theories of aesthetics and storytelling have influenced art forms in other cultures, such as ballet in Europe or kabuki in Japan. These comparisons underline the universal nature of performing arts as a medium of human expression.
Science and Psychology of Performance
The theory behind performing arts is not limited to philosophy and culture; it also intersects with psychology and neuroscience. Chapter 7 delves into the science of Rasa (emotional essence), explaining how a performer’s ability to evoke emotions in the audience is rooted in mirror neurons and empathy. This scientific perspective bridges ancient wisdom with modern understanding, illustrating how the arts impact human cognition and emotional well-being.
The chapter further discusses the role of rhythm (Tala) and movement in regulating emotions, citing studies on the therapeutic effects of dance and music. Performing arts are thus presented as a holistic practice that nurtures the mind, body, and spirit.
The Spiritual Dimension
A significant portion of the chapter is devoted to the spiritual aspect of performing arts, emphasizing their role as a medium for self-expression and divine connection. Drawing from ancient Indian traditions, the chapter illustrates how performances are seen as offerings to the divine, where the artist becomes a conduit for universal energy. Bharatanatyam, for example, is described as a form of yoga in motion, combining physical discipline with spiritual devotion.
Modern Adaptations and Challenges
The chapter concludes by addressing the challenges faced by performing arts in the modern era, such as commercialization, loss of traditional knowledge, and the impact of technology. However, it also highlights efforts to preserve these art forms, including digitization, global collaborations, and the integration of traditional arts into contemporary narratives.
