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Bharata in the 狈腻峁瓂补艣腻蝉迟谤补 has written a chapter on 驳补迟颈辫谤补肠腻谤补. This comes as the final chapter on 腻峁単颈办补 abhinaya. He deals with its varieties in an exhaustive manner, nearly twenty categories though he does not number them. Abhinavagupta, the author of 础产丑颈苍补惫补产丑腻谤补迟墨, has explained it skillfully. Without his work, it would be very difficult to understand the nuances of the 狈腻峁瓂补艣腻蝉迟谤补.

Bharata gives various gaits to be followed by various types of characters, in different situations, portraying the nature, for enhancing various sentiments and for many other subjects. These can be performed only after having a basic knowledge of the chapters based on 腻峁単颈办补 abhinaya, which relates to the basic exercises of the movement of 补峁単补蝉 and 耻辫腻峁単补蝉.

1. Gaits for types of characters.
2. Gaits according to theater.
3. Gaits pertaining to conditions.
4. Gaits as per the situations.
5. Gaits relevant for sentiments.
6. Gait of merchants and ministers.
7. Gait of ascetics and Buddhist.
8. Gait in darkness and vehicles.
9. Gait in aerial sphere.
10. Gait in ascending palace.
11. Gait in river.
12. Gait of an elephant rider.
13. Gait of a horse rider.
14. Gait of serpents.
15. Gait of intoxicated persons.
16. Gait of lunatic persons.
17. Gait of lame, cripple and dwarf.
18. Gait of 痴颈诲耻峁�a办补.
19. Gait of low characters.
20. Gait of animals and birds.

These gaits explained by Bharata in the 狈腻峁瓂补艣腻蝉迟谤补 can be brought under five broad classifications.

1. Gaits according to theater.
2. Gaits for types of characters.
3. Gaits relevant to sentiments.
4. Gaits pertaining to circumstances.
5. Gaits of animals and birds.

These gaits can be performed accordingly by the actors when they move around on stage portraying different characters. Bharata, in 迟腻峁囜笉补惫补 濒补办峁�a峁嘺-the fourth chapter of the 狈腻峁瓂补艣腻蝉迟谤补, has defined the 办补谤补峁嘺蝉 (combined movements of hands and legs) and in eleventh chapter the 肠腻谤墨蝉 (movements of legs). He states the 办补谤补峁嘺蝉 and 肠腻谤墨蝉 can be used for depicting the gati in dramas (苍腻峁瓂补), but is not mentioned in the chapters of the 办补谤补峁嘺, 肠腻谤墨 or in the gati about which 肠腻谤墨 or 办补谤补峁嘺 is to be used for the relevant gati. Abhinavagupta has explained all the 肠腻谤颈蝉 and 办补谤补峁嘺蝉 elaborately and has suggestions for the uses of the 办补谤补峁嘺蝉 in a particular gati. However, he has not elaborated about the uses of 办补谤补峁嘺蝉 in the gati chapter.

Bharata has enumerated a variety of gaits, which gives ample scope for the dancer and dramatist. The researcher feels that as these 肠腻谤墨蝉 and 办补谤补峁嘺蝉 are given under 苍峁泃迟补 varieties, which can be used for portraying the gait in a dance drama. During Bharata鈥檚 period, 苍峁泃迟补 (dance) was a component of 苍腻峁瓂补 (drama). However, now as drama has taken a separate form, these gaits given by Bharata can be performed in 苍腻峁瓂补dharm墨 -stylized way of using the 肠腻谤墨蝉 and 办补谤补峁嘺蝉. Moreover, a particular gait can be performed with one or more 肠腻谤墨蝉 or 办补谤补峁嘺蝉.

Therefore, gati can be performed through 肠别峁ａ弓腻办峁泃补 -actions or movements of the whole body, or 肠腻谤墨蝉-thirty-two specified movements of the legs, or 尘补峁囜笉补濒补蝉 (combination of 肠腻谤墨蝉) -twenty specified movements of the legs used in fighting sequences or 办补谤补峁嘺蝉-hundred and eight specified movements of the body or 补峁単补丑腻谤补蝉 -thirty-two combined movements of 办补谤补峁嘺蝉 either in drama or in dance.

Bharata says,

After the upavahana, instrumental music is played and the 诲丑谤耻惫腻 song, appropriate to the place and sentiment, is sung. Then the curtain is removed and to the accompaniment of music, the characters enter exhibiting the theme and sentiments of the play.

迟补迟谤辞辫补惫补丑补苍补峁� 办峁泃惫腻 bh膩峁囜笉av膩dyapurask峁泃am |
yath膩m膩rgarasopeta峁� prak峁泃墨n膩峁� 辫谤补惫别艣补ne |
诲丑谤耻惫腻y膩峁� sa峁僷rayukt膩y膩峁� 辫补峁璭 chaiv膩pakar峁�ite |
办腻谤测补岣� 辫谤补惫别艣补岣� p膩tr膩峁嚹佱箖 n膩n膩rtharasasambhava岣� ||^[1]

Abhinavagupta explains thus:

鈥淎蹿迟别谤 upavahana鈥攖he humming of the tune, gati can be understood just with music.

tatr膩pravi峁ａ弓asya k膩 gatiriti prayogopakrama峁� s奴cayati tatropavahanamiti |^[2]

Upavahana is one of the components of the 辫奴谤惫补谤补峁単补, procedure in which the singers start humming the musical notes of the song.

upavahanamiti p膩峁環e upohyate svaro yasm膩ttatt奴pavahana峁� sm峁泃am'ityukta 濒补办峁�a峁嘺峁� p奴rva驳腻苍补m |^[3]

After this the instrumental music is played in order to enhance the entry of the character. Gati thus introduces the sth膩y墨 bh膩va to the audience and intensifies the rasa. Gati, which is 补峁単补惫颈办峁�e辫补, transforms to a峁単a abhinaya when the character is introduced. Dhruva songs describe the place, garden and characters, 苍补峁��� will enter, sing the season and call the character to the stage. Gati is thus used for entrance and actions on stage. Character should enter with a perfect 蝉迟丑腻苍补, 诲峁涐梗峁璱 and 尘耻办丑补谤腻驳补.^[4]

Audience should understand the character and the rasa immediately. These 蝉迟丑腻苍补s are stances of the body from which the gati originates. The 诲峁涐梗峁璱 and 尘耻办丑补谤腻驳补 refers to eye and the mukhaja abhinaya or facial movements of the actor. 笔谤补惫别艣补 dhruva is sung along with 辫耻峁�k补谤补惫腻诲测补 when a character enters the stage. 笔谤补惫别艣补 or entry of a person cannot be done without the music and song. The full impact of music is got by gati and thus music is taken to audience by the exact gati and vice versa.

Hence, gati is performed for entering the stage, 谤补峁単补辫谤补惫别艣补 along with the 辫谤补惫别艣补 dhruva. This will be in madhya laya along with 蝉耻峁�k腻办峁�a谤补 驳腻苍补. These 蝉耻峁�k腻办峁�a谤补s are meaningless syllables that are recited or sung like the solfa syllables or jathi solkattus of present parlance. Thus, the entry of a character should be with a proper gati. Gait, which is based on body movements, along with eye and facial expressions becomes 蝉腻迟迟惫颈办补 and thus is capable of strengthening the rasa. These 辫谤补惫别艣补 dhruvas are now seen in dance forms in the name of 辫谤补惫别艣补 daru and these songs introduces the characters.

Footnotes and references:

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[1]:

狈腻峁瓂补艣腻蝉迟谤补 XII.2,3.

[2]:

Ibid.XII.com.p.93.

[3]:

惭腻濒补惫颈办腻驳苍颈尘颈迟谤补 A-I. com.

[4]:

狈腻峁瓂补艣腻蝉迟谤补 XII.com.p.94.