Gati in Theory and Practice
by Dr. Sujatha Mohan | 2015 | 88,445 words
This page relates 鈥極bservations and findings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.
Observations and findings
鲍辫补谤奴辫补办补蝉 form the source for choreographic patterns. The gait varieties are seen in many dramas as descriptions or stage directions. 叠丑腻蝉补 has mentioned the name 肠腻谤墨 and gati and has described 叠丑墨尘补 as moving with these movements. 肠腻谤墨 驳补迟颈峁� pracarati[1] Some instances have also been given by commentators. They have been analysed by the researcher and appropriate 肠腻谤墨s, 办补谤补峁嘺蝉, etc., which are given by Bharata in 狈腻峁瓂补艣腻蝉迟谤补 are quoted. Abhinava鈥檚 view of using the 肠腻谤墨s and 办补谤补峁嘺蝉 for performing the gatis are also noted down. Thus, the application of gati is completely analysed.
Footnotes and references:
[1]:
Uru.A\. ? 叠丑补谤补迟腻谤峁嘺惫补 I.19.