Gati in Theory and Practice
by Dr. Sujatha Mohan | 2015 | 88,445 words
This page relates 鈥楴ritya Nataka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.
狈峁泃测补 狈腻峁璦办补
[Full title: Desi forms of Tamilnadu (3): 狈峁泃测补 狈腻峁璦办补]
The 耻辫补谤奴辫补办补蝉 paved way for the 驳别测补苍腻峁璦办补蝉 and 苍峁泃测补苍腻峁璦办补蝉. Its origin can be traced back to the Gita Govinda. These were combination of poetry, music, dance and mime. Abhinaya plays a greater part than 苍峁泃迟补. In an n峁泃ya n膩峁璦ka or dance-drama, dance is an integral part of the play, 苍峁泃迟补 and abhinaya are equally prominent.The 碍峁涐梗峁噇墨濒腻 迟补谤补峁単颈峁嚹� of Narayana Tirtha is an opera in the Sanskrit language consists of 迟补谤补峁単补蝉, 艣濒辞办补蝉, 肠奴谤峁噄办补蝉, crisp musical dialogues and the darus interspersed with jatis are to be noted. The various kinds of daru songs such as 蝉补尘惫腻诲补诲补谤耻, uttara-pratyuttaradaru, 辫腻迟谤补辫谤补惫别艣补诲补谤耻, 蝉惫腻驳补迟补诲补谤耻 and 惫补谤峁嘺苍补诲补谤耻, which are similar to the dhruvas of the 狈腻峁瓂补艣腻蝉迟谤补, are seen in these 苍腻峁璦办补蝉. These had many varieties of song based on rhythm. The gati (rhythm) would change according to mood of the character and theme of the story. In the 辫补濒濒补办墨蝉别惫补蝉, the dancers sung and danced in rhythmic steps holding the palanquin, which had a variety of movements and gaits. In the n峁泃ya n膩峁璦ka, dancing is an integral part of the play. Each character has to keep on dancing and acting. In the dance drama, the sahitya, acting, music and dancing together combine to create the intended rasa.