Gati in Theory and Practice
by Dr. Sujatha Mohan | 2015 | 88,445 words
This page relates 鈥極bservations in Post-Bharata works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 in Post-Bharata works
The element of gati is seen in works like 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补 笔耻谤腻峁嘺, 狈峁泃迟补谤补迟苍腻惫补濒颈, 厂补峁単墨迟补尘耻办迟腻惫补濒颈, 叠丑补谤补迟腻谤峁嘺惫补, 础产丑颈苍补测补诲补谤辫补峁嘺 and others. Though there are more than twenty-five Sanskrit texts on 苍腻峁瓂补 related topics, only five or six directly deal with the concept of gati, the gait. Works like 厂补峁単墨迟补谤补迟苍腻办补谤补,[1] 厂补峁単墨迟补 Makaranda,[2] 狈峁泃测腻诲测腻测补,[3] etc. deals with some 肠腻谤颈蝉 related to gaits.
1. Gati in 苍腻峁瓂补 is dramatised dance
The dramas that come under the 苍腻峁瓂补 variety consist of movements such as walks on the stage to represent various moods and locales other than the entry and exit of characters. The gaits are also used to represent the fights and combats. All these can be performed by 肠腻谤墨蝉, 办补谤补峁嘺蝉, and their combinations. Thus, gati is based on 产丑腻惫补蝉 and rasas. This type of description is seen in 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补 笔耻谤腻峁嘺 and 厂补峁単墨迟补尘耻办迟腻惫补濒颈.
2. Gati in 苍峁泃迟补 comprises of 迟腻濒补 and laya
厂补峁単墨迟补 惭耻办迟腻惫补濒颈 refers to gati in rasa and 苍峁泃迟补 i.e. abstract dance. These elements of gati in 苍峁泃迟补 can be utilized in stage choreographies. They are based on formation of circles, diagonal lines, zig-zag walks and straight lines. 狈峁泃迟补谤补迟苍腻惫补濒颈 also gives a variety of gaits based on rhythm. 17
3. Gati in 苍峁泃测补 is communicative dance with 迟腻濒补 and laya
The combination of 苍峁泃迟补 with mukhaja and s膩ttvika abhinaya is 苍峁泃测补. So, when these gatis are performed along with rhythm and expressions then they become 苍峁泃测补gati. 础产丑颈苍补测补诲补谤辫补峁嘺 details the gaits as the walks of animals. Gati given in 叠丑补谤补迟腻谤峁嘺惫补 can be brought under 苍峁泃测补 gati because it has gaits based on 迟腻峁囜笉补惫补 and 濒腻蝉测补. 18
4. Gati is essential element in 谤奴辫补办补 and upa谤奴辫补办补
The 谤奴辫补办补s are based on the 惫峁泃迟颈蝉 or styles[4] and the 惫峁泃迟颈蝉 like 办补颈艣颈办墨 and 腻谤补产丑补峁� have more body movements. These are performed by suitable 肠腻谤颈蝉 and 办补谤补峁嘺蝉 in 蝉耻办耻尘腻谤补 and 耻诲诲丑腻迟补 prayogas. The upa谤奴辫补办补s are mostly dance dramas or even dances, which form a part in dramas. The varieties of 苍腻峁璱办补, 迟谤辞峁璦办补, 蝉补峁弓补办补 and so on have many graceful dance movements in the 办补颈艣颈办墨 style. lalit膩bhinay膩tmiketi 办补颈艣颈办墨ya峁� baddhetyartha岣� |[5] In these forms the gait itself is performed as dance. There are many patterns like circular, straight and diagonal lines in which, the upa谤奴辫补办补s like 谤腻蝉补办补, 苍腻峁瓂补谤腻蝉补办补, da峁囜笉a谤腻蝉补办补 and many more are performed. Thus, the elements of choreography with coordinated movements are an essential feature in upa谤奴辫补办补s.
Footnotes and references:
[1]:
Infra 1.3.12.
[2]:
Infra 1.3.23.
[3]:
Infra 1.3.20.
[4]:
Infra.XVIII. com.p.298.
[5]:
Infra.XVIII. com.p.320.