Gati in Theory and Practice
by Dr. Sujatha Mohan | 2015 | 88,445 words
This page relates 鈥楾ullal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.
Tullal
[Full title: 顿别艣墨 forms in Kerala (5): Tullal]
The tullal is a solo dance exposition, which is of three types. Though based on classic principles of the 狈腻峁瓂补艣腻蝉迟谤补, the technique of this art is not rigid. The performance of 翱峁弓补苍迟耻濒濒补濒 dance is quite innovative and interesting. The term 翱峁弓补苍迟耻濒濒补濒 means jumping and running. It has various 补岣峚惫耻蝉 and lasts for two hours. In 蝉墨迟补办补苍迟耻濒濒补濒 the metre and rhythm of the songs are a bit slower than in 辞峁弓补苍迟耻濒濒补濒 and consequently, dance is also slower in tempo. The parayantullal is the slowest in tempo. Even the stance of the dancer is different from the other two. Here the dancer almost stands erect and explains the meaning of the songs by gestures with very little of the dance element or of action.