FROM ONCE READ TO TWICE PERFORMED: EXPLORING THE QUESTIONS OF ERFORMATIVITY AND RASA IN MODERN INDIAN DRAMA
Recognising, analysing, and theorising the convergence and collapse of clearly demarcated realities, hierarchies, and categories is at the heart of postmodernism: this premise is at the core of this article when mediating two distinctive theories of criticism. The paper is drawn on the dualitatem of the critical theories of Performativity and Rasa with the objective of initiating deliberations and debates on Indian Aesthetics. Performance studies as an interdisciplinary discourse uses performance as a lens to engage with social, political, religious questions. The Rasa Theory in Indian dramaturgy and aesthetics have been critically analysed and applied on quite a few western and Indian literary works but seldom has a literary work been critically studied through the dual critical lenses of performativity in relation to the Rasa experience. Rasa is a manifestation of emotions translated to the audience in the form of shared experience. The proposed research is a humble attempt to engage with the questions: How performance of a drama and its affective experience can be attributed to the Rasa experience? This interdisciplinary research is contextualised in modern drama where in the complex matrix of performance, its affect becomes a shared Rasa experience that resonates in the form of a narrative with binaries of universality and subjectivity.