Gati in Theory and Practice
by Dr. Sujatha Mohan | 2015 | 88,445 words
This page relates 鈥楪ati in Kama-avasthas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.
Gati in 碍腻尘补-补惫补蝉迟丑腻蝉
碍腻尘补 补惫补蝉迟丑腻蝉 are stages of love. Bharata enumerates ten stages of 补惫补蝉迟丑腻蝉. Gait of the character will vary accordingly and the actor should perform suitable 肠腻谤墨蝉 and 蝉迟丑腻苍补蝉. In the first stage 补产丑颈濒腻峁Ｄ� the actor should go out and come in frequently in order to make the lover see her. 骋耻峁嘺办墨谤迟补苍补 can be depicted by expressing the 驳耻峁嘺蝉 of lover along with his traits like action, gait, etc. Udvega should be depicted by anxious behavior.
痴颈濒腻辫补 is to be performed by roaming about and lamenting.
Then king enters and walks about with disconsolation addressing the Lord of love for bringing him to the present state.
R膩ghavabha峁弓a comments that this can be taken as the 办腻尘补 补惫补蝉迟丑腻 called udvega.
鈥�Udvega is that state where the loving one could not get respite to sitting or lying in bed, always feeling anxiety. Udvega should be represented by the wise on stage by showing eagerness, sighing, lassitude, heart-burn and the like.鈥�[2]
The pangs of love should be gesticulated.
madanab膩dh膩峁� nir奴pya
Raghavabhatta says this should be represented by lolita 艣颈谤补蝉, 岣峯濒腻丑补蝉迟补 and 艣奴苍测补诲峁涐梗峁璱. Rolling the head in all directions is called lolita, when both the hands are held at ease with the shoulders hanging down is 岣峯濒腻 hasta and 艣奴苍测补诲峁涐梗峁璱 is a vacant look. These actions are to be adopted here.
This can also be performed by the 办补谤补峁嘺 called lolita.
鈥淗ands with palms kept flat and turned down and head swung on sides is the known as lolita.鈥�
recit膩va帽citau hastau 濒辞濒颈迟补峁� 惫补谤迟颈迟补峁� 艣颈谤补岣� |
ubhayo岣� p膩r艣vayoryatra tallolitamud膩h峁泃am ||tasy膩岣u峁amay墨 艣ar墨ralulit膩 艣补测测腻 艣il膩y膩miya峁� ||
顿耻峁补苍迟补 laments on seeing the place where 艢补办耻苍迟补濒腻 was resting. 痴颈濒腻辫补鈥揟he lamentation may be employed like 鈥榟ere he was saying鈥�, 鈥榟ere he was met by me鈥� and such other wailings.
To represent this she should roam about in excessive mental uneasiness, anxiety and unhappiness.鈥�
iha sthita ih膩s墨na iha copagato 尘补测腻 |
iti taistairvilapitairvil膩pa峁� samprayojayet ||
udvign膩tyarthamautsuky膩dadh峁泃ya ca vil膩pin墨 |
tatastata艣ca bhramati vil膩pasthanami艣rit膩 ||[3]
Footnotes and references:
[1]:
Abh.S膩k. A-III.
[2]:
狈腻峁瓂补艣腻蝉迟谤补 XXII.182.
[3]:
狈腻峁瓂补艣腻蝉迟谤补 XXIV.179,180.