Gati in Theory and Practice
by Dr. Sujatha Mohan | 2015 | 88,445 words
This page relates 鈥楾echnical terms seen in Uparupakas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.
Go directly to: Footnotes.
Technical terms seen in Upa谤奴辫补办补蝉
厂补尘测腻 is the dance performed with sticks in hand and keeping with the 迟腻濒补. 顿惫颈辫补诲墨 is the name of the laya, a musical composition set with two padas on which dance is based. Chalika is a dance performed with abhinaya.[1] Thus, gati becomes an important aspect in 苍腻峁瓂补, 苍峁泃迟补 and 苍峁泃测补. The characters move about in a particular gait or dance movement and through that the rasa of 苍腻峁瓂补 are relished. The same way, in 苍峁泃迟补 and 苍峁泃测补, the gait is performed in patterns, like circular or rectangular, which is defined in 厂补峁単墨迟补 尘耻办迟腻惫补濒墨. It enhances the beauty of the performance, the creativity of the choreographer and the talent of the performer. Bharata has told that, 肠腻谤墨蝉 and 办补谤补峁嘺蝉 can be used for depicting the gatis and the performances of 谤奴辫补办补蝉 and upa谤奴辫补办补蝉 should have them in the practice of gaits. We have many references from the 础产丑颈苍补惫补产丑腻谤补迟墨 where it has mentioned that the 岣峯尘产颈办腻蝉 were full of dance movements. It could be understood that, gati is not for drama alone, but it has played an important role in the upa谤奴辫补办补蝉, which are 苍峁泃测补 prabandhas.
A musical version of the drama 痴颈办谤补尘辞谤惫补艣墨测补 has terms like 诲惫颈辫补诲颈办腻, 惫补濒补苍迟颈办腻, 箩补尘产丑补濒颈办腻, 肠补谤肠补谤颈办腻, 办丑补峁囜笉补诲丑腻谤腻, etc. which are based on rhythmic aspects. Dhruvas are composed and sung in these rhythmic layas and they are used for the performance of the gait by the actors.
As the Sanskrit drama tradition has declined, the music, drama and dance tradition has evolved in due course. There are many changes involved in the technical terms and their present meaning. Though some of the obsolete traditions of dance and music elements have been reconstructed by scholars, it is difficult to understand the original score of the dance and music of Sanskrit drama. Even then, the prevailing dance forms have some traces of the 狈腻峁瓂补艣腻蝉迟谤补.
Upa谤奴辫补办补蝉 have more of dance elements in them. 碍补颈艣颈办墨 惫峁泃迟颈 is predominant in these varieties. Dr. Raghavan opines that these upa谤奴辫补办补蝉 are the link between Bharata and the dance-drama traditions.[2] 狈腻峁璱办腻, bh膩峁噄k膩, 谤腻蝉补办补, 苍腻峁瓂补谤腻蝉补办补, da峁囜笉a谤腻蝉补办补, nartanaka, and so on are some of the upa谤奴辫补办补蝉 that have taken the form of n膩峁弓iya n膩峁璦kam, bharata苍腻峁瓂补, 苍峁泃测补n膩峁璦kam, kuchipu岣峣, manipuri, sattriya, and others, in the present days and also kummi, kol膩峁弓am, 岣嵞佱箛岣峣ar膩s, garbha and others which belong to folk varieties.
A study of the upa谤奴辫补办补蝉, gives us details about the history and development of dance and theatre forms prevalent in Asia. Dr. Raghavan views; 鈥榓lthough ancient Indian drama or Sanskrit dramas envisaged by Bharata is of the nature of a dance-drama, with music and dance-movements, it is the 耻辫补谤奴辫补办补 class of performances that is so par excellence; for in them music and dance predominate; most of them are merely dances accompanied by songs, interpreting through abhinaya or gesture, the emotional contents of the song.鈥�[3] These dance sequences have many varieties of 苍峁泃迟补 gatis, which are explained by J膩yana.[4]
Footnotes and references:
[1]:
Sanskrit Drama鈥揑ts Aesthetics and Production Dr. V. Raghavan p.360
[2]:
Ibid. p.34
[3]:
Ibid.
[4]:
N峁泃taratn膩val墨 VII.