Vibhatsa Rasa- Emotion of Disgust

The underlying emotion in Vibhatsa Rasa is disgust. It is a type of aversive reaction that involves withdrawing from a person or object with strong expression of revulsion.

This rasa proved to be quite a challenge to portray. There are so many things around us that evoke disgust, so many social evils which showcase the ugliness of society. What proved to be a challenge was how to pick up a topic which would not only do justice to the rasa, but also be suitable for children to perform on and yet make the audience sit up and think….not an easy task to showcase ugliness and disgust aesthetically !!

So this particular act  is our original script to highlight an issue with which we are all aware of, which we all condemn loudly in our sitting rooms, which gives us yet another opportunity to curse the system…..yet we are not willing to do anything about it at our personal level.

We are sure this act will make you more empathetic towards the social evil we have highlighted and do hope that at least some of us decide to take a step in the right direction to address the problem. Be ready for The Palace School children to stir your emotions with our presentation of Vibhatsa Rasa.


Urvashi Warman


The Making of Navrasa- Dubbing


The making of Navrasa would not be complete without talking about the dubbing team.  Aaroosh had a tough time selecting children for the dubbing of the acts. According to him, if the voice suited the character, the child could not get the correct inflection and if the inflection was right, the desired timbre would be missing. Every rasa has its own flavour and the dialogue delivery had to bring out the essence effortlessly. When asked which rasa he found the toughest to train the students he immediately said – Karun and Hasya rasa.

            Practices for Karun rasa, according to him, were very typical as the audition and subsequent practices with the student selected for ‘Rani Shaivya’ evoked a lot of Hasya Rasa! The students found the highly melodramatic dialogue delivery extremely amusing and it was difficult to make them understand that this was the way people spoke and reacted in yester years. Given the current scenario where acting and dialogue delivery tends to be more realistic, scripts belonging to the bygone era demand melodramatic dialogues and enactment.

                                                                                                                                                                                                                                 But the child who dubbed and subsequently also enacted the role of Devi Shaivya took to the role like fish to water. Her heart rending wail at the death of for ‘son’ makes it difficult to believe that she is still in class VI.

            Individual dialogues were easier than the ones requiring a chorus. Aaroosh said it was a real challenge to make these 10 and 12 year olds understand the subtle nuances. At times they caught the nuances so quickly that it would take him by surprise but there were times when they tested his patience to the limit …… and finally got it right just as he would be about to give up !

It was wonderful to see the children’s excitement at the recording studio…. but what was even more amazing was to see the professional rendition of the dialogues by these little ones. They gelled well in the chorus lines and finished their recordings in record time! We had expected takes and retakes to slow down the process, but kudos to our talented lot and kudos to their instructor Aaroosh who made the daunting task appear so interesting and easy.

            I am sure, some of you will find a few voices very familiar on the D Day and will find it difficult to place them with the right face ….. which will prove how these children become one with the character they were given to emulate.

            We are waiting for Thursday, 8 November with bated breath ……. are you?


Raudra Ras


The underlying emotion in Raudra Rasa is anger. Extreme anger bordering rage is one of the most powerful emotions experienced by man. It can fuel both preservation and destruction. We have chosen to present the story of Shiva and his consort Sati for the depiction of this Rasa.

Sati’s angst at being ignored by her father for the yojna, followed by her fury at the insult hurled by her father at her husband, her consequent self immolation followed by Shiva’s Tandava Nritya brings out the essence of Raudra Rasa beautifully.Shiva’s Tandava is a vigorous dance that is the source of the cycle of creation, preservation and dissolution. Tandava depicts Shiva’s violent nature as the destroyer of the universe.Characteristics of the Tandava Dance have been described in the fourth chapter of Natya Shastra by Bharat Muni.

According to Natya Shastra the dance movements of tandava could be employed in the course of dance, fight and personal combats.

In our presentation we have tried to capture the essence of Raudra Rasa.

Kudos to the performing children!! It was a tough task for them to emote such powerful emotions – be it the haughty reproof of Daksh, Sati’s father or the silent vexation of Sati’s mother or the confused disbelief, sorrow and anger of Sati along with the uncontrollable rage of Shiva at the death of his divine consort ……… the 10 to 12 year old artists have done a commendable job. I am quite sure, our children will mesmerise you with their intense performance.



Urvashi Warman

The Making of Navrasa

I had no idea how tough the project Navarsa would be ! Once I started working on it, I felt completely stumped right at the beginning itself.  The original work of Bharat Muni was nowhere to be found. Internet which is supposed to be the modern womb of knowledge, drew a near blank. How was one supposed to depict the nine emotions on stage? The only thing which was clear to me was we had to have a potpourri of dance, music, theatre and art…bringing out the distinct flavour of each rasa.

The easiest seemed Veer Rasa to me-Veer Rasa or the emotion of courage. Our Indian history is replete with instances of courage and valour depicted by our brave historical characters. Yet, would courage be defined by only bravery depicted in the battlefield? While working on the emotion of courage I realized that courage is the most important virtue as without courage one can’t practise any other virtue consistently !!

One needs courage to love in face of opposition, courage to remain happy under adverse circumstances, courage to overcome sorrow, courage to overcome fear, anger, hatred , disgust……any emotion…it requires courage to express or overcome. As Winston Churchill rightly said-Courage is rightly esteemed the first of human qualities-because it is the quality that guarantees all others.

So, I had the choice-should the depiction of Veer Rasa be done via a historical theme or should it reflect courage displayed in our day to day life by common man ? A tough choice !!

But history won…for the simple reason that I couldn’t resist showcasing the grandeur of our rich historical past. Ernest Hemingway defined courage as “grace under pressure” and keeping this in mind I settled upon the story of Prithviraj Chauhan’s face off with Mohammad Ghori.

Then came the script.

As I penned the script in English, I realised something was lacking….the language just did not seem to reflect the essence of the era, the entire sequence lacked punch.

It was already the end of June and the clock seemed to be ticking fast. I decided to contact Aaroosh Sethi, a young dynamic theatre artist who had worked closely with us at the time of our 7th Annual Day, “The Seven Wonders”.

And then started the brain storming sessions with Aaroosh about the script and the presentation.

Keep watching for more inside stories …..




Urvashi Warman


ANNUAL DAY 2012-’The Theme’

Time flies !!

It seems like yesterday that we had celebrated our 9th Annual Day-“India’s Tryst with Destiny”.

Now it is time for our 11th annual day and we are in the midst of intense, hectic practices. This year’s theme is Navrasa.

Navrasa or the nine emotions were first outlined by Bharat Muni in his iconic pathbreaking masterpiece ‘Natya Shastra’. Natya Shastra formed the premise from which traditions of dance, music, theatre, art and literature evolved. So profound was the impact of this philosophy that it came to be regarded as the 5th Veda. Evoking the nine rasas or emotions in the audience through an art form was the prime motivation of the artist and the performance and art work were created solely with this aim.

We will showcase our humble interpretation of his iconic masterpiece for you on Thursday, 8th November.



Urvashi Warman