Rasa：表演藝術的情感滋味

Rasa: The Affective Flavor of Performing Arts

rasa（梵文）是味、是味道、是汁液、是滋味、是美感、是情緒、是香料、是愛、是慾望、是本質、是精髓，是色香味的完美融合，是情緒的淬煉與呈現、是情感的感知與境界的提升；在此同時，rasa 也是品味與賞味，是讀者或觀眾的鑑賞能力與本能反應，也是表演者與賞味者（或參與者）共同成就的境界。rasa 是一個無法確切捕捉、翻譯的字，但它不僅是印度梵語詩學與美學之重要概念之一，更是古老梵語表演藝術經典論著《舞論》的理論核心。本論文把重點聚焦在表演藝術情感滋味的討論上。在進行的步驟上，論文首先檢視婆羅多在《舞論》裡建構、定義rasa 的方式，並從歷史的角度探尋rasa 在情感層面的意涵轉化昇華及超凡入聖的過程與秘方。本論文也會就表演者的表演實踐與觀眾的情感反應這兩個面向作深入的探討。最後本論文會進一步探究rasa 所蘊育出來的表演藝術境界，並針對rasa 的審美詮釋取向提出反思與批判。

Rasa (Sanskrit) is taste, f lavor, juice, relish, aesthetic sensibility, emotion, spice, love, desire, and essence. It is at once the perfectly blended masala and the presentation of affective sensibility. Meanwhile, rasa is always a matter of tasting which has to do with spectator’s response. It is also the joint achievement of performers and partakers. Rasa is a word that cannot be captured and translated in a precise manner. Nevertheless, it is not only one of the vital concepts of Indian aesthetics but also the core theory of the Nā yaśāstra. This paper focuses on discussing the affective f lavor of performing arts. First of all, it examines the way Bharata Muni defines the notion of rasa in the Nā yaśāstra. It next explores the process or secret formula that heightens and sublimates the affectivity of rasa into a higher and sacred realm. This paper then proceeds to look into the rasic performance from not only the perspective of the performer but also the affective viewpoint of the audience. Finally, it brings forth the whole gamut of the rasic performance and proffers a critique of the interpretative act and tendency of aestheticization bearing on the notion of rasa.