ABSTRACT
To begin with, the ritual-to-theatre model rests upon a notion of social Darwinism, that is that all societies develop in the same way, from "primitive" to civilized. The ritual-to-theatre model creates boundaries between disciplines that are artificial and difficult to maintain. This chapter focuses on recognizable set of theatre conventions: an intentional narrative, costumes, a designated playing space, and onlookers intentionally engaging in spectatorship. It covers forms that include spoken or sung text, but forms that involve action and interaction on stage known as "blocking". Finally it concerns ourselves with what is live rather than mediated, or at least has a significant live element. Bharata outlines eight kinds of rasa that the performer evokes in the audience. The eight sthayi bhava and corresponding rasa are: sringara, hasya, karuna, raudra, vira, bhayanaka, bibhasta, and adbhuta.
