Bhavas

Bhavas are called so because they become or bring into being (bhavyanti) and help
convey the desired meaning. They enable the natya to realize its rasa to ensure that
its poetic meaning has been conveyed. Bharata gives a lucid definition of Bhavas:
“That which conveys the meaning intended by the poet through words, physical
gestures and facial changes is a Bhava.” Broadly speaking Bhavas refer to all the
elements like vibhavas, anubhavas, vyabhicari bhavas and sattvika bhavas. In a
broader sense Bhavas mean the originating cause of actualisation and evocation of
rasa. Bharata made a clear cut distinction between real life emotions (Bhavas) and
emotions depicted in drama (Natyabhavas) Natya being an imitation of life, real
Bhavas can have their counterparts as Natyabhavas as well.

Sthayibhava (permanent emotions)

Human life has some fixed emotive patterns, universally present and integral to our
life. They are a set of eight permanent emotions, which are subtle in nature and
depend on other elements for their representation. Etymologically sthayi stands for
abiding and continuing and bhava means existent. These innate, enduring,
assimilative and dispositional traits of human nature are dormant and when activated
they develop into an expressive and distinct emotive pattern which get manifested
through some minor transitory states, bodily movements and involuntary actions.

These emotional states are inherent to humans. They are basic as they are inborn,
understandable without explanation. They also are characterized by intensity, as they
dominate and direct behavior. On the stage Sthayi bhavas are represented by certain
Anubhavas.

The eight sthayi bhavas are - 1. Rati (love), 2. Hasa (laughter), 3. Soka (sorrow), 4.
Krodha (anger), 5. Utsaha (enthusiasm), 6. Bhaya (fear), 7. Jugupsa (disgust), 8.
Vismaya (astonishment)

Sthayi bhavas being subtle, they cannot express themselves, they get manifested
through these vyabhichari bhavas only. It is very interesting to learn that like (8)
sthayi bhavas, Bharata enlists a limited 33 number of vyabhichari bhavas only. At
times vyabhichari bhavas serve multiple sthayi bhavas.

1. Rati (Pleasure) - Smiling face, sweet words, contraction of eyebrows, sidelong

glances and the like.

2. Hasa (Joy) - Smile and the like, i.e., laugher, excessive laugher.

3. Shoka (Sorrow) - Shedding tears, lamentation, bewailing, change of color, loss of

voice, looseness of limbs, falling on the ground, crying, deep breathing, paralysis,
insanity, death and the like.

4. Krodha (Malice) - Extended nostrils, unturned eyes, bitten lips, throbbing cheeks
and the like.

5. Utsaha (Courage) - steadiness, munificence, boldness of undertaking and the

like.
6. Bhaya (Fear) - trembling of the hands and feet, palpitation of the heart, paralysis,
dryness of the mouth, licking lips, perspiration, tremor, apprehension of danger,
seeking for safety, running away, loud crying and the like.

7. Jugupsa (Disgust) - contracting all the limbs, spitting, narrowing down of the
mouth, heartache and the like.

8. Vismaya (Surprise) - wide opening the eyes, looking without winking of the eyes
and movement of the eye-brows, horripilation, moving the head to and fro, the cry of
‘well done’ and the like.

The eight Sthayi bhavas evoke eight corresponding Rasas:

1. Rati evokes Sringara (the Erotic - romance, love)

2. Hasa evokes Hasya (the comic - laugh, humor)

3. Shoka evokes Karuna (the pathetic - compassion, sadness)

4. Krodha evokes Roudra (the furious - indignation, anger)

5. Utsaha evokes Veera (the heroic - valor)

6. Bhaya evokes Bhayanaka (the terrible - fear, horror)

7. Jugupsa evokes Bibhasa (the odious - disgust, aversion, repugnance)

8. Vismaya evokes Adbhuta (the marvelous - wonder, astonishment, amazement)

Vyabhicari Bhavas (Sancaribhavas/Transitory)

Besides these limited numbers of sthayi bhavas Bharata talks of 33 transient,

ancillary, temporary, fleeting emotions which do not just accompany sthayi bhavas
but represent, reinforce and re-echo them. These emotions are minor, temporary and
transitory, they emerge and fade and in the process portray the dominant emotions.
Called “Complementary” or “Inconstant” modes, which may be seen as “Conditioning
Forces” or transitory states of a scene or the changeable conditions that affect
character’s behavior.

Soka for instance could be expressed through some of the following vyabhichari
bhavas - indifference, anxiety, delusion, weeping and change of colour.

Ex: garva (arrogance), Alasya (indolence), Asūya (envy).

Sattvika bhavas

Temperamental states are expressed on the stage using Sattvika abhinaya. In fact, all
the gesticulation of mental states may be designated as the Sattvika abhinaya. But
the prominence given to the gesticulation of the temperamental states is due to the
peculiar mental effort which is necessary for their presentation. Bharata has thus
given first the gesticulation of temperament for, without it the real purpose of the
performance would be lost.
Some bhavas which are involuntary responses and manifestations which we employ to
communicate our deeply felt emotions in a complex and deep emotional situation are
termed as Sattvika Bhavas. While human beings undergo such states certain
unconscious changes driven by hormonal discharges happen to them on which they
do not have much conscious control e.g. blushing, tears, perspiration, horripilation.
Bharata talks of eight Sattvika Bhavas –

1. Stambha (paralysis), 2. Sveda (perspiration), 3. Romañca (horripilation), 4.

Svarabhanga (change in voice), 5. Vepathu (trembling), 6. Vaivarnya (change of
colour), 7. Asru (weeping), 8. Pralaya (fainting)

The poet, the performer and the spectators all share these sattvika bhavas. These
expressions specially help the performers to achieve objectification while retaining
their subjective nuances.

Vibhavas and Anubhavas –

Vibhavas are made of patterns of life and serve as cause or stimuli of emotions. These
are elements which produce a desired emotion and determine the nature of
consequent representation of emotions. Like manhandling, dragging, insult, quarrel or
debate and similar factors will act as vibhavas to evoke in us a feeling of wrath
(Krodha). These stimuli could be external, existing in the external world or internal
existing in the mind.

Anubhavas are bhavas which ‘show up’ on characters after some stimuli (vibhavas)
has had their impact. They include the bodily movements, attitudes and facial
expression by which the feelings are expressed by the artist and made to be ‘felt’. To
manifest a feeling of wonder, widely awake eyes, raised eye brows, constant gaze etc.
are some of the anubhavas used by actors. Anubhavas are the outcome of vibhavas
and make the spectators aware concerning the dominant emotions, theme of the play.
They can be those behavioural patterns which represent the evocation of similar
emotions in spectators.