Geoffrey Planque, « Le corps-miroir de la Poésie dans le Bharata-Natyam », Mosaïque n°3, Lille : Juin 2011.
danseurs est envisagé comme le lien parfait qui conduit à la véritable essence du théâtre : rasa, la gustation poétique.
The purpose of this article is to examine the extent to which Bharata-Nāṭyam, the classical dance form from Tamil Nadu, is related to poetry.
As set out in its drama treatise, Nāṭya-Śāstra, the Indian stage views the body of actor-dancers as the perfect link that leads the audience to the real essence of theatre: rasa, the savouring of poetry.
Indeed, in India, reaching the gods means embodying them and sculpting them into a theatric form using sound, movement and gestures. This divine presence, as contained in the body of the dancer, can thus extend to the audience and bring them slowly to a state of liberation.
However, Bharata-Nāṭyam, which is danced on an empty stage, weaves many tensions between the visible and invisible worlds. These tensions are centred around aesthetic pleasure, which is the reflection of poetry.
In conclusion, the Indian stage reveals the poetic properties of the body, by lifting the veil that covers the heart, and reproduces the whole of creation.