Gati in Theory and Practice
by Dr. Sujatha Mohan | 2015 | 88,445 words
This page relates 鈥楳anifestation of Gati in Caris and Karanas (Introduction)鈥� of the study on the Theory and Practice of Gati (鈥済ait鈥�) which refers to the 鈥渕ovement of a character on the stage鈥�, commonly employed (as a Sanskrit technical term) in ancient Indian Theatrics and the Dramatic arts, also known as Natya-shastra. This thesis explores the history and evolution of Gati and also investigates how the various Gatis are employed in regional performance traditions.
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Manifestation of Gati in 颁腻谤墨蝉 and 碍补谤补峁嘺蝉 (Introduction)
颁腻谤墨蝉 prescribed by the rules and connected with different limbs relate to one another constitute a 惫测腻测腻尘补. (痴测腻测补肠肠丑补苍迟别 from 惫测腻-测腻, stretch out to). A 肠腻谤墨 is a correlated movement of the whole leg. The movement mainly with a single foot (辫腻诲补) is called the 肠腻谤墨. The movement of the two feet is called the 办补谤补峁嘺.[1] If one leg is moved in various ways, direction it is 肠腻谤墨 and generally the other leg is static, and when the other leg starts to move it becomes 办补谤补峁嘺. Both legs can be moved simultaneously on the ground or even off the ground in some of the movements like leaps and jumps. However, this 肠腻谤墨办补谤补峁嘺 is different from the 苍峁泃迟补办补谤补峁嘺, which is a simultaneous movement of the hand and leg. 惭补峁囜笉补濒补蝉 are the combinations of various 肠腻谤墨s, which are the sequence of movements. Gati is mainly based on these movements.
Bharata says, 苍腻峁瓂补 is completely dependent on 肠腻谤墨, and without the performance of 肠腻谤墨 nothing can be done in a 苍腻峁瓂补.
测补诲别迟补迟辫谤补蝉迟耻迟补峁� 苍腻峁瓂补峁� tac肠腻谤墨峁eva sa峁僯帽itam |
nahi 肠腻谤测腻 惫颈苍腻 ki帽cinn膩峁瓂e'峁単a峁� sa峁僷ravartate ||[2]
碍补谤补峁嘺蝉 are combined movements of hands and legs, which can be used for depicting the gatis in 苍腻峁瓂补 and 苍峁泃迟补.
Footnotes and references:
[1]:
狈腻峁瓂补艣腻蝉迟谤补 X.3.
[2]:
Ibid.X.6.