Gati in Theory and Practice
by Dr. Sujatha Mohan | 2015 | 88,445 words
This page relates 鈥楪ati performed as Lokadharmi and Natyadharmi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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Gati performed as Lokadharm墨 and 狈腻峁瓂补诲丑补谤尘墨
The two kinds of dramatic practices are realistic and stylistic varieties. When a play represents natural behavior of characters it is 濒辞办补诲丑补谤尘墨, the factual representation of the happenings around us on the stage. 狈腻峁瓂补诲丑补谤尘墨 is characterized by the actions superseding the natural course of the text.
When the representation of mountains, vehicles, and the like, are done by a human and if a character moves about the stage with graceful movements of the limbs and dancing steps instead of the normal walk it is 苍腻峁瓂补诲丑补谤尘墨.
lalitaira峁単aviny膩saistathotk峁ptapadakramai岣� |
n峁泃yate gamyate c膩pi 苍腻峁瓂补诲丑补谤尘墨 tu s膩 sm峁泃膩 ||[1]
鈥�Dramas should always be performed on the basis of 苍腻峁瓂补诲丑补谤尘墨. Without the accompaniment of musical instruments and gestures of limbs it is not possible for the audience to enjoy a performance.鈥�[2]
苍腻峁瓂补诲丑补谤尘墨 辫谤补惫峁泃迟补峁� hi 蝉补诲腻 苍腻峁瓂补峁� prayojayet |
nahya峁単膩bhinay膩t ki帽cid峁泃e 谤腻驳补岣� pravartate ||pu峁膩dibhi艣candrap膩d膩nabhyarcya |[3]
鈥淕别蝉迟颈肠耻濒补迟别蝉 worshipping the moon beams with sandal, flowers, and others.鈥�
Here the queen should perform the 办补谤补峁嘺 called 迟补濒补辫耻峁补辫耻峁璦.
鈥淎ssuming the hasta called 辫耻峁补辫耻峁璦 on the left side, movement with the tip of the toes and bending on a side constitute the 办补谤补峁嘺 called 迟补濒补辫耻峁补辫耻峁璦.鈥�
惫腻尘别 辫耻峁补辫耻峁璦岣� p膩r艣ve p膩do'gratalasa帽cara岣� |
tath膩 ca 蝉补苍苍补迟补峁� 辫腻谤艣惫补峁� 迟补濒补辫耻峁补辫耻峁璦峁� bhavet ||
Footnotes and references:
[1]:
Ibid.XIII.79.
[2]:
Ibid XIII. 83.
[3]:
Vik. A-III.