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狈腻峁瓂补艣腻蝉迟谤补 of Bharata along with 础产丑颈苍补惫补产丑腻谤补迟颈, the commentary, is taken as the primary source of study, as this work deals with the aspects of gati in an elaborate and authentic manner, which will suit 苍腻峁瓂补 and 苍峁泃迟补, drama and dance respectively. The details of gati, as referred in other post -Bharata works, are noted down and the similarities and differences between them are explained.

Though there are many works on 苍腻峁瓂补, only few have dealt with the concept of gati. Most of them give importance to the aspects of 腻峁単颈办补 abhinaya, hand gestures, leg and body movements and those on drama have elaborated on 产丑腻惫补, rasa and 谤奴辫补办补 aspects, which are very important dramatic elements.

Though Bharata is considered the earliest writer on dramaturgy, it is surprising to know that his successors have not followed him in describing the gati, though gati forms the base for dance and drama. This might be due to the evolution in the performance during centuries. 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补 辫耻谤腻峁嘺 follows Bharata and works such as 叠丑补谤补迟腻谤峁嘺惫补, Sa峁単墨taratn膩kara, 厂补峁単墨迟补尘耻办迟腻惫补濒颈, 狈峁泃迟补谤补迟苍腻惫补濒颈, 础产丑颈苍补测补诲补谤辫补峁嘺, etc. provide different ideas and information on gati. However, the varieties of 诲别艣墨 肠腻谤颈蝉, 产谤补尘补谤墨蝉, utplutas, 办补谤补峁嘺蝉 and the like are useful in the performance of gati

In Tamil it is said, 鈥�na岣峚i u岣峚i 产丑腻惫补nai鈥� decides the nature of a person and even here the physical appearance and stature comes first. Some texts on 苍腻峁瓂补 have dealt in detail with the gati aspects and some others have just mentioned about gati.

Bharata in the 狈腻峁瓂补艣腻蝉迟谤补 has allotted a whole chapter for gati 辫谤补肠腻谤补. He deals with its varieties in an exhaustive manner. Abhinavagupta, the author of 础产丑颈苍补惫补产丑腻谤补迟墨, a commentary on the 狈腻峁瓂补艣腻蝉迟谤补 has explained it skillfully. Without this commentary, it would have been very difficult to understand the nuances of the 狈腻峁瓂补艣腻蝉迟谤补.

痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补 Pur膩峁嘺 provides a detailed description of gati and this is similar to that of 狈腻峁瓂补艣腻蝉迟谤补. 狈补苍诲颈办别艣惫补谤补 in 叠丑补谤补迟腻谤峁嘺惫补 deals with the aspect of gati in a different manner, which seems to be more appropriate for dance. In the chapter called 艣耻诲诲丑补 苍腻峁瓂补, he describes the seven 迟腻峁囜笉补惫补蝉. Each 迟腻峁囜笉补惫补 is interspersed with gati, 办补谤补峁嘺, 迟腻濒补 and 蝉辞濒濒耻办补峁�峁�耻. Devan膩c膩rya, author of 厂补峁単墨迟补尘耻办迟腻惫补濒颈 deals with gati based on rasa and gati based on 苍峁泃迟补. So, according to him gati can be seen in 苍腻峁瓂补 and 苍峁泃迟补. 狈峁泃迟补谤补迟苍腻惫补濒颈 has mentioned varieties of gati based on 迟腻濒补 and 办腻濒补. The 础产丑颈苍补测补诲补谤辫补峁嘺 deals with seven varieties of gaits based on the movements of birds and animals. The concept of gati has been taking newer forms from around the 2C.E. to 18 C.E. Thus, the evolution of the gati can be noted.

In the 狈腻峁瓂补艣腻蝉迟谤补, Bharata enlists various gaits to be followed by different types of characters, in different situations, in portraying the nature, for enhancing sentiments and many such things. He deals with gati in a very elaborate way, but other scholars had a different approach regarding gati, though they follow him in many aspects of 腻峁単颈办补 abhinaya. It could be because gati was not considered important, as the performance of Sanskrit dramas had declined during their period.

狈腻峁瓂补艣腻蝉迟谤补 has influenced the dramatists like 叠丑腻蝉补, 碍腻濒颈诲腻蝉补, 艢rihar峁�a and others. The verses and dramatic terms in those dramas have been studied and referred to wherever necessary. Some dance forms prevalent after the decline of Sanskrit dramas have used 诲别艣颈 肠腻谤颈 varieties for depicting the gait. The 肠腻谤颈蝉 are the movements involving legs and they are found in some traditional forms of dance dramas. These can be used to depict the gait on stage. Bharata鈥檚 delineation of gati seems to be different but very useful for the theatre artists, the dancers and the actors.

Sources of study based on field-work

The study is based on the temples sculptures and the traditional practice of dance and drama. Scholars like C.Sivaramamurthi, V.Raghavan, T.N.Ramachandran, Kapila Vatsyayan, R.Nagaswamy, Padma Subrahmanyam and many others have done a detailed technical study of the sculptures of the temples mainly in and around India. The sculptures related to dance and dramas are analysed through which the practice of these arts can be ascertained. The sculptures are very much related to the text of the 狈腻峁瓂补艣腻蝉迟谤补 and the interpretations of Abhinavagupta, 艢腻谤峁単补诲别惫补, J膩yana and others. The movements of the dancers are skillfully sculpted in three-dimensional techniques, though the sculptures are static in nature. Thus, the gait was visually captured in sculptures.