Indyjska teoria rasa jako doświadczenie estetyczne
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There is no doubt that the conceptualization of Indian aesthetics was created in connection with theater. The oldest text in this area deals simultaneously with the art of theater. The Natya Shastra, the treatise on the theory of drama and literature, attributed to the mythical author of Bharat, contains two chapters (of the thirty six) dedicated to aesthetic perception. It was here that he first formulated the theory of rasa. The idea of race has been repeatedly interpreted, analyzed and defined, yet it remains an ambiguous term which is useful to understand many new qualities. Etymologically the word rasa means juice, essence, flavor, and in its derivative meaning would be equivalent to aesthetic experience. This term refers on the one hand to the most essential, on the other hand to the most sensual form of reality. Art becomes a stimulator of sensations, so that the audience is given an opportunity to experience a whole range of emotional qualities. The article is an attempt to identify and systematize reflections on rasa theory and on the Indian understanding of aesthetic experience. As these issues were originally associated primarily with theater, their analysis necessitates a study of the structure of drama and expounding on its sense of theater.
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