Gati in Theory and Practice
by Dr. Sujatha Mohan | 2015 | 88,445 words
This page relates 鈥楶rayoga of Caris and Karanas for depicting the Gati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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Prayoga of C膩ris and Kara峁嘺s for depicting the Gati
Bharata, the author of the 狈腻峁瓂补艣腻蝉迟谤补, says that the 肠腻谤墨蝉 and 办补谤补峁嘺蝉 are to be used for depicting gatis.
颁腻谤墨蝉 are performed for representing the fight and discharge of weapons on the stage.
c膩r墨bhi岣� 艣astramok峁艣ca c膩ryo yuddhe ca k墨rtit膩岣� ||[1]
The 办补谤补峁嘺蝉 are used in parikrama of different characters, battle and combats, and also in 苍峁泃迟补, which is interspersed in 苍腻峁瓂补.
a峁ａ弓ottara艣ata峁� hyetat kara峁嚹乶膩峁� mayoditam |
n峁泃te yuddhe niyuddhe ca tath膩 gatiparikrame ||[2]
The researcher feels that the chapter on 驳补迟颈辫谤补肠腻谤补 is very important for dramatists and the dancers, because the prayoga of 腻峁単颈办补 and 蝉腻迟迟惫颈办补 elements seen in chapters four to twelve of the 狈腻峁瓂补艣腻蝉迟谤补 and can be related to this chapter of 驳补迟颈辫谤补肠腻谤补. Explanation of how to present these gaits on stage with the help of 肠腻谤墨蝉 (leg movements) described in the eleventh chapter and 办补谤补峁嘺蝉 (correlated movements of hands and legs) in the fourth chapter, is essential for the performer. With the help of Abhinava鈥檚 commentary, the 办补谤补峁嘺蝉 can be performed for the gaits of characters. By following this practice, the gait of the actors becomes more stylized and beautiful. Thus, a performance can be highlighted only if the performer is adept in these technical elements of 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. 5.
[2]:
Ibid. IV.56