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'''Bharata Muni''' ('''भरत मुनि''') was an ancient [[India]]n [[theatrologist]] and [[musicologist]] who wrote the [[Natya Shastra]], a [[theoretical]] [[treatise]] on ancient [[India]]n [[dramaturgy]] and [[Acting|histrionics]], especially [[Sanskrit theatre]]. Bharata is considered the father of Indian theatrical art forms. He is dated to between 200 BCE and 200 CE,<ref> Lidova, N. (2014). Natyashastra. Oxford University Press. </ref> <ref> Mehta, T. (1995). Sanskrit Play Production in Ancient India. Motilal Banarsidass.</ref> but estimates vary between 500 BCE and 500 CE.<ref>Dace, W. (1963). "The Concept of "Rasa" in Sanskrit Dramatic Theory". Educational Theatre Journal. 15 (3): 249.</ref> | '''Bharata Muni''' ('''भरत मुनि''') was an ancient [[India]]n [[theatrologist]] and [[musicologist]] who wrote the [[Natya Shastra]], a [[theoretical]] [[treatise]] on ancient [[India]]n [[dramaturgy]] and [[Acting|histrionics]], especially [[Sanskrit theatre]]. Bharata is considered the father of Indian theatrical art forms. He is dated to between 200 BCE and 200 CE,<ref>Lidova, N. (2014). Natyashastra. Oxford University Press.</ref><ref>Mehta, T. (1995). Sanskrit Play Production in Ancient India. Motilal Banarsidass.</ref> but estimates vary between 500 BCE and 500 CE.<ref>Dace, W. (1963). "The Concept of "Rasa" in Sanskrit Dramatic Theory". Educational Theatre Journal. 15 (3): 249.</ref> | ||
The ''Nāṭya Śāstra'' is notable as an ancient encyclopedic treatise on the arts, which has influenced dance, music and literary traditions in India. It is also notable for its aesthetic [[Rasa (aesthetics)|"Rasa"]] theory, which asserts that entertainment is the desired effect of performance arts but not the primary goal and that the primary goal is to transport the individual in the audience into another parallel reality, full of wonder, where he experiences the essence of his own consciousness and reflects on spiritual and moral questions. | The ''Nāṭya Śāstra'' is notable as an ancient encyclopedic treatise on the arts, which has influenced dance, music and literary traditions in India. It is also notable for its aesthetic [[Rasa (aesthetics)|"Rasa"]] theory, which asserts that entertainment is the desired effect of performance arts but not the primary goal and that the primary goal is to transport the individual in the audience into another parallel reality, full of wonder, where he experiences the essence of his own consciousness and reflects on spiritual and moral questions. | ||
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