Communication in Theatre Performances (A Study in Context to Rasa Siddhānta)

Transcription

1 Communication in Theatre Performances (A Study in Context to Rasa Siddhānta) * Monika Verma and ** Vishakha Rajurkar Raj ABSTRACT Theatre is a medium of communication. If we look at the historical perspective of drama according to Bharatmuni and scholars including Āchārya Abhinavagupta, Bhaṭṭa Lollaṭa, Bhaṭṭa Nāyaka, Śri Śaṅkuka and others, Rasa Niśpatti is considered as the prime motive of any performance. These motives of doing and watching theatre have changed over time with the changes in the social system, social structure, social issues and other societal changes. But the motive associated with Rasa has remained the same because the effect of drama (or any art form) can only be created through Rasa Niśpatti. Therefore, it can be said that the effectiveness of any performance (of drama) can be studied by dissecting it in terms of Rasa Niśpatti. In a theatrical performance, there are many components that works together to create the desired effect on the audience as well as on the practitioners.the present study focuses on understanding how Rasa is transmitted in the audiences of the play. This study is a testing of Rasa Niśpatti among the spectators according to the Rasa Siddhānta mentioned in Nāṭyaśāstra and its interpretations. The study also looks at the perspectives of the systems of communication that functions in a theatrical performance. KEYWORDS: Rasa Niśpatti, Drama, Theatrical Performance, Communication, Rasa Siddhānta INTRODUCTION There are different perspectives of communication experienced by people and many definitions given by scholar. The term communication is widely used for the process where a person shares his idea and thoughts with others, where one person informs other person, where there is an exchange of ideas and so on. Communication has several functions where it is used for sharing, informing, commanding, talking with others. In most common sense, communication is a process where we share meanings (Braganza & Peeradina, 1989). The meanings of communication are defined by the symbols, artifacts and technology used in the process. Communication has always been an important part of human civilization. The evolution of man has lead to evolution of communication and vice-versa. Looking at the past in context to Indian communication, its base in traditional India was language and behavior (oral kinetic) and from this twin source flowed a wealth of theatre, dance and speech forms, both expository and lyrical. Ancient India communicated with a power and subtlety which has lasted till today, as some will still say, still undiminished (Braganza & Peeradina, 1989). *Dr. Monika Verma, Professor, Department of Communication Research, MCNUJC, Bhopal, Madhya Pradesh **Vishakha Rajurkar Raj, Ph.d Research Scholar, Central University Ranchi, Jharkhand 1

2 Nāṭyaśāstra: Drama is termed as Nāṭya in Indian tradition and the greatest source of studying about Nātya is Nāṭyaśāstra written by Bharatmuni approximately two thousand years ago. It is the oldest text for dramaturgy in the world estimated to be written around 500 BC. The origin of drama or theatre is explained through a story in Nāṭyaśāstra where gods from the heaven went to Lord Brahmā and requested to create something for manovinod of people that would be accessible to everyone and would be capable of seeing and listening. Since the other four Veda were not available and accessible to everyone, the gods urged for the fifth Veda. Lord Brahmā assured that he will create something as requested. He then remembered all the four Veda and created fifth Veda as Nāṭyaśāstra. He took some elements from four Veda namely readability from Rigveda, songs from Sāmaveda, acting from Yajurveda and Rasa from Atharvaveda. CONCEPT OF RASA AND BHĀVA Elaborating about different Rasa in Nātyaśāstra, Bharatmuni mentions that there are eight Rasa accepted in Nātya (drama) which are Śṛngāra, Hāsya, Karuṇa, Roudra, Vīra, Bhayānaka, Vībhatsa and Adbhuta Rasa. These Rasa are explained by Bharatmuni in volume 1, chapter six of Nāṭyaśāstra. The characteristics of several Rasa are:- Śṛngāra Rasa depicts attraction and love Hāsya Rasa depicts laughter and mirth Karuṇa Rasa depicts compassion Roudra Rasa depicts fury Vīra Rasa depicts heroism Bhayānaka Rasa depicts terror Vībhatsa Rasa depicts aversion Adbhuta Rasa depicts amusement Further there are three categories of Bhāva elaborated by Bharatmuni - Sthāyi Bhāva, Sanchāri Bhāva and Sātvik Bhāva. Sthāyi Bhāvas are the basic emotions that exist in every person in permanence. They are the persistent emotive state of mind. These sthāyi bhāva are complimentary to the Rasa respectively. Bhāva Rati Bhāva Hāsa Bhāva Śoka Bhāva Krodha Bhāva Utsāha Bhāva Bhaya Bhāva Jujupsā Bhāva Vismaya Bhāva Rasa Śṛngāra Rasa Hāsya Rasa Karuṇa Rasa Roudra Rasa Vīr Rasa Bhayānaka Vībhatsa Rasa Adbhuta Rasa 2

3 Sanchāri Bhāva are of 33 types and are also called Vyabhichāri Bhāva. These are transient emotions, i.e., they are short lived. These Bhāvas get activated when comes face to face with the stimulus (in drama) and die out quickly. Sātvik Bhāva are the emotions which are intangible but have naturally visible effects. These emotions affect the body, face and eyes of a person. These Bhāvas help in better expression of Sanchāri Bhāva in the performance. Sthāyi Bhāva Sanchāri Bhāva Sātvik Bhāva Rati 1.Nirveda 2.Glāni 3.Śankā 4.Asūyā 5.Mada 6.Śrama 7.Ālasya 8.Dainya 9.Chintā 10.Moha 11.Smṛti 12.Dhṛti 13.Vrīḍā 14.Chapalatā 15.Harsha 16.Āvega 17.Jaḍatā 18.Garva Stambha Hāsa Śoka Krodha Utsāha Bhaya Jujupsā 19.Vishāda 20.Aoutsukya 21.Nidrā 22.Apasmāra 23.Supta 24.Prabodha 25.Āmarsha 26.Avahitthā 27.Ugratā 28.Mati 29.Vyādhi 30.Unmāda 31.Maraṇa 32.Trāsa 33.Vitarka Vismaya Sweda Romāncha Swarabhanga Vepathu Vaivarṇya Aśru Pralaya *Content of table extracted and compiled from Nāṭyaśāstra RASA SIDDHĀNTA: Bharatmuni in the same chapter states how the Rasa gets created in drama. Rasa is based, evoked and developed from these Bhāvas which exist in every person. The combination of methods of acting (Āngika, Vāchika, Sātvika and Āharya) for communicating the story that evokes these Bhāvas leads to Rasa Niśpatti. Bharatmuni has given a Rasa Sūtra, also called Nātya Sūtra, which explains how Rasa is produced vibhāvānubhāvavyābhicharisanyogādrasaniśpattiḥ Bharatmuni explains in the concerned kārika that Rasa Niśpatti happens when Vibhāva, Anubhāva and Vyābhichāri (Sanchāri) Bhāva combine together. We have understood the types of Rasa and Bhāva previously including the Vyābhichāri Bhāva. Now let us only understand the meanings of Vibhāva and Anubhāva. Raniero Gnoli has termed Vibhāva as Determinants; Anubhāva as Consequents; and Vyābhichāri Bhāva as Transitory Mental States. G.T. Deshpande has explained the concept of all the three types of Bhāva. Vibhāva is the emotive situation presented on stage and which in actual life will be responsible for the rise of this emotion shown by the actor. Vibhāva is of two types (i) Ālaṁbana Vibhāva, the object which is primarily responsible for arousal of emotion and on which emotion depends, and (ii) Uddipana Vibhāva, the environment and surrounding that enhances the emotive effect. Global Media Review (GMR) 3

4 Anubhāva includes all the physical changes which are consequent on the rise of emotion and are in actual life looked upon as effect of emotion. They communicate the basic emotion to the characters present on stage and make known the nature of emotion in the actor. They make the spectator experience identical emotion. THEATRE AND COMMUNICATION: Theatre is a medium of communication or it can also be said that communication is done through theatre. What kind of communication is done through theatre is the matter of research which is studied in the following research work. If we look at the historical perspective of drama according to Bharatmuni and scholars including Āchārya Abhinavagupta, Bhaṭṭa Lollaṭa, Bhaṭṭa Nāyaka, Śri Śaṅkuka and others, Rasa Niśpatti is considered as the prime motive of any performance. Therefore, it can be said that the effectiveness of any performance (of drama) can be studied by dissecting it in terms of Rasa Niśpatti. In a theatrical performance, there are many components that works together to create the desired effect on the audience as well as on the practitioners. In the following paper, the important persons in the process of communication for director and actors of the play audiences, are studied. The fact that communication and theatre goes hand in hand, there are certain characteristics of theatre which depicts the pattern of types of communication. THEORETICAL FRAMEWORK The present study is based on the following theories of media and communication developed by senior research scholars. USES AND GRATIFICATION THEORY: The Uses and Gratification Theory looks at the audiences perspective for media in contrast to most of the other theories that studies the effect of media on people. According to this theory, the question is to study why and how the audience uses media. It is an audience centric approach which indicates towards the audience with active characteristic. The theory has been worked upon in three different stages by researchers beginning from Herta Herzog, Abraham Maslow, Wilbur Schramm, Jay Blumler, Denis McQuail, Elihu Katz and so on. Uses and Gratification Theory sought to present that audiences use a particular media for gratification of certain needs. Katz, Gurevitch and Haas (1973) developed 35 needs taken from the social and psychological functions of mass media and categorized them into 5 major criteria:- Cognitive Needs Affective Needs Personal Integrative Needs Social Integrative Needs Tension Free Needs The theory is directly applicable in this study as the audiences have already chosen to participate in the theatrical performance as audience for gratification. The present research will study how active, attentive and responsive are the audiences of a theatrical performance. 4

5 RITUAL MODEL: The Ritual Model of communication also called as Expressive Model is an alternative model to transmission model proposed by James Carey. According to this model, communication functions are not restricted to instrumental purposes rather it also emphasizes on the intrinsic satisfaction of the sender and receiver. Carey pointed out to the view where communication is linked to such terms as sharing, participation, association, fellowship and possession of a common faith. A ritual view of communication is not directed towards the extension of messages in space, but the maintenance of society in time; not the act of imparting information but the representation of shared beliefs. The ritual view is not utilitarian and often requires an element of performance for communication to be realized. In respect to the proposed study, this model is best applicable in the sense that here the idea of a theatrical performance is carrying the concept of sharing rather than any utilitarian approach or controlling character of transmission model. SADHARANIKARAN MODEL OF COMMUNICATION: The term Sādhāraṇikaraṇa is originally propounded by ancient Indian scholar Bhaṭṭa Lollaṭ which is a significant process in aesthetic experience. However, the concept of Sādhāraṇikaraṇa in arts is different from that of Sadharanikaran Model of Communication (SMC) propounded by Nirmal Mani Adhikary in According to SMC, communication is a process of attaining Sahṛdayatā, i.e., mutual understanding, commonality or oneness. When the communicating parties identify each other as Sahṛdaya and when the process of communication as sharing brings commonality between the sender and receiver, the process qualifies as that of SMC. Sahṛdayatā should be understood as a poetic expression used for being or having common orientation. Sahṛdaya is not coterminous with predisposition in favor or against. It is much more than personality characteristics. It means identification of the communicator with receiver of communication. The postulate is that the greater the identification the greater is the success of communication. (Adhikary, 2014). In the present study, a theatrical performance is taken as the process of Sādhāraṇikaraṇa where there is oneness attained by the audiences for the performers of the play. OBJECTIVE OF THE STUDY The objective of the research is to study the process of Rasa Niśpatti in a play for the 1. Director 2. Actor 3. Audience METHODOLOGY The present research has quantitative data which were collected and analyzed accordingly. This study has followed the Quasi-Experimental Design of research for the purpose of the study that deals with the audiences as respondent. Seven plays were selected by the researcher performed during an international art festival called Vihaan International Festival of Arts (VIFA-2) which was organized in three different auditoriums of Bhopal (M.P.) from 29 th December 2016 to 8 th January There were 11 plays performed in this festival out of which these 7 were chosen for the purpose of data collection. 5

6 The sample of this study was distributed as follows: Pre-play audience Post-play audience Total audience Sample for each play Total sample for 7 plays Purposive sampling technique under non-probability sampling method was used. The researcher did survey using questionnaire from the audiences. There were 2 questionnaires used for data collection from the audience where one each was to be filled before and after the show by the same respondent. For the purpose of survey, the questionnaires were distributed and received among the audiences as follows: Questionnaire Distributed Questionnaire Received Pre-Play Post-Play Total Data analysis was done through statistical procedure using SPSS. DATA ANALYSIS AND INTERPRETATION OF AUDIENCES RESPONSE There were two questionnaires given to the respondents that they had to fill one each before and after the show. The correlations between pre and post responses of the respondents are studied here. The questions which were considered for analysis are as follows: Table 1: Comparative table on expectation from the play and liking for the performance Expectation from play on the basis of previous information Expectation Very Much Much Average Less Very less 0 0 Liking for the performance Liking Very Much Much Average Less 0 0 Very less 0 0 6

7 On the basis of previous information about the play, 44.2% of the respondents expected much and 36.8% of the respondents expected very much that the performance of the play will be good while after the performance there were 63.2% of the audience who liked the play very much. There is a shift of 26.4% of the audience from the level of expectation who liked the play on the highest scale. Similarly the shift is also observed on the levels of very less, less and average between the expectations and liking. The data indicates that most of the audiences liked the play more than they expected. The respondents enjoyed the performances and immediately responded to the questionnaire that suggests that Rasa got transferred in them that motivated their liking towards the performance. The shift in the percentage shows that the artistes communicated well through performance. Graph 1 below shows the movement of differences among the same respondents towards theatrical performances before and after the play. Graph 1: Expectation and liking of theatre performance Table 2: Comparative table on importance of story and connection with story of theatre performance Importance of story Connection with story of performance 0-20% % % % % % % % % %

8 57.9% of the audiences believe that the story of the play is important from % in a theatrical performance while their connection with the story collectively fell by 10.5% making it 47.4%. There were only 2.2% of respondents who before the play thought that story is important only from 0-40%, while 40% of the respondents believed that story is 41-80% important. After watching the performance, there were 8.5% of respondents who got connected with the story very less with 0-40% while there were still 44.2% of the respondents who got connected to the story in between 41-80%. The data indicates that there was a gradual decrease in the number of respondents who though that story is very important to that of their connection with story. However, the shift seems to be moderate because respondents still felt connection with the story of performances on average level. Graph 2 shows audience s shift from importance to connection. Graph 2: Importance of story and connection with story of theatre performance Table 3: Comparative table on importance of acting and connection with acting of theatre performance Importance of acting Connection with acting of performance 0-20% % % % % % % % % %

9 There were 65.3% of the respondents who think that acting is very important from % in a performance. However there were 47.4% of people who felt connecting to acting on that same level. No one in the audience thought that acting is least important but the connection fell to the least by 7.4% of respondents in last two categories. Most of the respondents who thought that acting is very much important got distributed in their connection with acting of the performances. However, there is still a moderate connection of respondents with acting under 41-80% seen in the data with 45.3% of the audience which was only 34.8% while stating that acting is moderately important. Again in comparison with liking for the play, acting is an element which connects the audience not completely but to certain extent. Graph 3 show a gradual shift of audience s opinion before and after the performance. The distribution of audiences thought and connection can be clearly seen in the graph. Graph 3: Importance of acting and connection with acting of theatre performance 9

10 Table 4: Comparative table on importance of music and connection with music of theatre performance Importance of music Connection with music of performance 0-20% % % % % % % % % % Maximum number of respondents, i.e., 35.8% think that music is essentially important in a play from % and that got a hike of 1% respondents during the performance as they felt the connection with music. However, the data got distributed abruptly in other scales. Connection with music fell lesser for the respondents while most of them believed that music is important. 9.4% of the respondents possibly got disappointed because they believed that music is important from 41-80% while they did not felt the connection on same level and that fell in the category of 0-40%. The relationship between expectation and connection of audiences with music as a theatrical element is still moderate. Graph 4 represents the shift between opinion and connection of the audiences. Graph 4: Importance of music and connection with music of theatre performance 10

11 Table 5: Comparative table on importance of direction and acting, and connection with dialogues of theatre performance Individual tables Importance of direction Importance of acting 0-20% % % % % Combined tables Average table of importance of Direction + Acting 0-20% % % % % Total % % % % % Connection with dialogues of performance 0-20% % % % % It can be clearly seen from the individual tables above that maximum respondents have marked direction (73.7% of respondents) and acting (65.3% of respondents) as % important. In the combines table, the average of both the elements has come out at 69.4% indicating their importance according to the audiences. While the connection of audience with dialogues of the plays at % is of 44.2% respondents. There were another 31.6% respondents who got connected to the dialogues of the plays. Since the dialogues of a play are a collective decision of director and actors, therefore connection with dialogue is compared with importance of direction and acting. The data indicates a moderate relationship between the elements pre and post test. The following Graph 5 represents the opinion of the audiences. 11

12 Graph 5: Importance of direction and acting and connection with dialogues of theatre performance Table 6: Comparative table on importance of direction, acting make-up and costume, and connection with character of theatre performance Individual tables Importance of direction Importance of acting 0-20% % % % % % % % % % Importance of make-up Importance of costume 0-20% % % %

13 41-60% % % % % % Combined tables Average table of Direction + Acting + Make-up + Costume 0-20% % % % % Connection with character of performance 0-20% % % % % % respondents felt connection with the character of the plays at majority. According to 49.73% of respondents at maximum believe that direction, acting, make-up and costume are important by %. The connection at the same level has got 1.87% of increase. The individual tables above show frequencies and percentage of respondents falling under different scales for different elements, i.e., direction, acting, make-up and costume. These individual elements make the character of the play live on stage which communicates with the audiences. The data shows a shift between the values from importance to connection with the element. The following Graph 6 represents the relationship between the elements pre and post test with a very minor difference if values. 13

14 Graph 6: Importance of direction and acting and connection with dialogues of theatre performance Table 7: Comparative table on perception and satisfaction of audience Table 7.1 Creative expression and emotional/mental satisfaction Theatre as medium of creative expression Emotional/Mental satisfaction of audience % % Very Much % % Much % Average Less 0 0 Very Less Before watching the play, maximum number of respondents, i.e., 51 out of 95 thought that theatre is a medium of creative expression from %. There were 9 more respondents who felt emotional/mental satisfaction very much to the highest level making it 63.2% of the total respondents. However, 3.2% of respondents who thought of theatre as a medium of creative expression on least percentage remained same after the performance without any change. But those who agreed on 21-40% completely moved up on the level of emotional/mental satisfaction. The whole experience of the creativity of theatrical performance seems to have effect on the audience that satisfied them on emotional and mental level. The data shows that theatre serves as a medium of emotional and mental satisfaction for audiences giving them psychological pleasure. As a medium of communication, the characteristic of theatre as a medium creative expression function well with the audience. 14

15 Table 7.2 Information and intellectual satisfaction Theatre as medium of information % % % % % Intellectual satisfaction of audience Very Much Much Average Less 0 0 Very Less A good shift is visible in the data above where maximum respondents inclined towards theatre as a medium of information at 61-80% before watching the play and gained intellectual satisfaction very much with 49.5% of respondents. Before watching the play, there were 10.5% of audience who believed that theatre is a medium of information on very less grounds and there were only 23.2% or respondents who marked theatre of that category under %. Whereas after the performance, there were only 3.2% of respondents who got very less intellectual satisfaction from the performances while 15.7% and 31.6% of respondents attained satisfaction on average and very much levels respectively. The hike of 26.3% of respondents in intellectual satisfaction shows that theatre is an important medium of communication that also functions on the intellectual level along with emotional and mental level. The elements combined in theatrical performance functions on different level for different audiences and this is indeed a medium of disseminating ideas and thoughts. Table 8: Comparative table on the action effect of theatre Theatre as medium of social change % % % % % Inspiring ability of theatre performance Very Much Much Average Less 0 0 Very Less

16 The above data shows a shift in belief of people who consider theatre as a medium of social change but get inspired by theatrical performance after the show. Highest number of respondent as 38 (40%) marked the influence of theatre as a medium of social change under 61-80% while the maximum respondents as 55 (57.9%) of the same set of respondents get inspire by the theatrical performance. the two lowest marking categories in the inspiring ability of theatre performance is has got null values and a complete shift is there on above three categories with maximum inclination in maximum effect. The shift of 22.1% of respondents in the most inspiring category indicates that theatre not only influences the audience but can convert people into Sahridaya with its effectiveness. Table 9: Perception of audience about character as real Very Much Much Average Less 0 0 Very less 0 0 Theatre is a space where events happen which are between real and artificial. Audiences know that what is shown to them is not real but still they believe in that. The above data show that 86.3% of respondents perceive the character of the play as real strongly while the other 13.7% believe on the same on average level. This indicates that the audiences are already convinced to believe in what will be told to them. This conception is close to the concept of Sādhāranikaran and the process of communication is possible with people who are interested in communication, i.e., Sahridaya. 16

17 Graph 7: Perception of audience about character as real Table 10: Collective connection of audience with performance Yes No Can t Say % of the respondents expressed that they believe that all the audiences in the theatre hall get connected with the good performance collectively while 4.2% doesn t think so and 8.4% respondents were not sure of it. The responses of the audiences suggest that the spectators are Sahridaya to the artistes and also to the fellow audiences. The collective connection of audience with the theatrical performance is an indication of unity and togetherness of the audience present at one place while they are exposed to a process of communication. This shows the specific characteristic of group communication where audiences feel the emotions and responses of fellow audiences. 17

18 Graph 8: Collective connection of audience with performance Table 11: Agreement with statement Tragic scenes in a theatrical performance also give creative pleasure Very Much Much Average Less 0 0 Very less 0 0 The above table shows that 58.9% of respondents in majority believe that tragic scenes in a theatrical performance also give creative pleasure while the other 41.1% of respondents also agree to this statement. Theatre is an art form between real and unreal and the ultimate ambition is to communicate the Rasa. The result of this question strengthens the idea that the element of Rasa is most important even for the audience as the tragedy gives pleasure to the spectator. It is the aesthetic pleasure which becomes important for the audiences. Below Graph 9 is a graphical presentation of opinion of respondents regarding acceptance of the pleasure attained in tragic scenes. 18

19 Graph 9: Agreement with statement Tragedy also gives creative pleasure Table 12: Impact of auditorium on performance of the play Very Much Much Average Less Very less % of the total respondents shared that impact of auditorium on the performance of the play is very much while 44.2% of them also agree with the same at much and average level. However there were 4.2% of respondents who feel the impact of auditorium is less. The opinion of majority of audiences indicates that the environmental conditions, seating, stage design and space have impact of the performance of the play. The second chapter of Nāṭyaśāstra explains about the making of an auditorium where importance of each element has been explained in detail. The results of this question assures that the audiences also believe that auditorium influence the performance leading to its influence on the process of Rasa Niśpatti as well. 19

20 Graph 10: Impact of auditorium on performance of the play FINDINGS The process of Rasa Niśpatti took place among the audiences in the following study. The subject matter of the communication is important for the receivers when they willingly approach to receive a message but there are other factors that also influence the overall likening. Acting is considered highly important by the audience before the play while their liking for the play doesn t completely depend on acting. Music is moderately essential in a play according to the audiences while after the encounter with music, the connection increased. Music was not considered very important but it played a role in liking of the play. Communication in theatre fulfills emotional, mental and intellection satisfaction. Audiences are ready to be affected by theatrical performance to become an agent of social change. Communication in theatre reaches through Rasa to the extent to inspire the receivers. Communication in theatre has action effect on receivers. Audiences reach out to theatrical performance with all faith and belief being Sahridaya. 20

21 The process of Sādhāraṇīkaraṇa functions with the audiences in theatrical performance as they collectively feel connected to the performance. Communication in the presence of human beings is clear and opaque and it is more than just words. The prime objective of theatrical performance is Rasa Niśpatti among audiences which functions well as the tragic scenes of the play also gives aesthetic pleasure to the viewer. The structure, size, seating and other amenities of an auditorium has both impact on the performance and process of communication. The structure, size and other details about auditorium of performance is also mentioned in the second chapter of Nāṭyaśāstra. Theatre as a medium of communication functions for both personal and social purpose. Audiences are also aware that theatre is not real but still they believe in the imagination of the other person and reaches the destination of performance to receive what will be given to them. The elements of theatrical performance viz. direction, story, acting, music, set, lights, make-up and costumes are the major factor that work together in communication and liking for the performance. Experience of the audience influence them in connection with the performance that could be positive or negative, but the art of communication in theatre is to make thinks Sādhāranīkrita for the audiences. Music is more than average significant in any theatrical performance according to the audiences. The sociological and psychological factors play an important role in understanding, interpreting, analyzing and accepting the messages and also how deeply they are undertaken. But here in the process of Rasa Niśpatti, the basic human emotions make the message uniform. CONCLUSION As Bharatmuni says in his book Nāṭyaśāstra that Rasa Niśpatti is the prime motive of any theatrical performance, the process has been observed functioning. From the present study, the researcher observed that the audiences of a theatre performance are active audiences. Audiences of theatre willingly come for the performance and have an expectation to be fulfilled where communication functions as the agent of fulfilling their expectations. While theatre is considered as a form of verbal, non-verbal and group-communication, the present research work has indicated that it also evokes intrapersonal communication among the audiences. The external stimulus, i.e., the performance and its elements, motivate the audiences to connect to their personal experiences. There are several factors in a theatrical performance that work together as essential elements of a play for the process of Rasa Niśpatti which are acknowledged by the audiences. As we study about the audiences of theatre, the researcher has found that an audience of theatre seeks mental, emotional and intellectual satisfaction, and to which he/she responds as well. The audiences believe that theatre is a medium of creative expression and is also a medium of social change. This indicates that theatre as a medium of communication is participatory in nature and involves a certain kind of audience who believe in not just taking but also giving back to the society. The medium itself moves out the boundary of just entertainment and involve people collectively for some change or movement in society. Interestingly, all the movement lead by theatrical performance happens because the Rasa functions towards it. 21

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