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Secondary sources in which the theory and practice of drama has been referred to are taken for explaining the concept. Scholars like Ananda Comaraswamy, V. Raghavan, K.M. Varma, Da艣ar奴paka Mankad, P.V. Kane, S.N. Sastri, 厂补峁単墨迟补-蝉腻谤腻尘峁泃补 Janaki, K.K. Raja, N.P. Unni, K.D. Tripathi, Govardhan Panchal, Kapila Vatsyayan, Padma Subrahmanyam, G.H. Tarlekar, G.S. Hegde, Radhavallabh Tripathi, C. Rajendran, Mandakranta Bose and many others have worked on the 狈腻峁瓂补艣腻蝉迟谤补 and allied topics on theatre as a holistic art. Western scholars like Sylvain Levi, H.H. Wilson, Kay Ambrose, Mac Donnell, A.B. Keith, H.W. Wells, Faubion Bowers, R.V.M. Baumer, J. R. Bradson, Beryl de Zoete and many more have also written works on ancient theatre forms. They were the source of inspiration for this research. Many works on dance has elaborated on 腻峁単颈办补 abhinaya and works on drama have elaborated on the origin, theory and practice of drama. Other than these commentaries on the dramas of 叠丑腻蝉补 and 碍腻濒颈诲腻蝉补 has also been taken for explaining the concept of gati in dramas.

Previous works and researchers in topics related to 狈腻峁瓂补

Some of the previous works and researches done in the field of theatre has been taken for references. The technical details connected with 苍腻峁瓂补, gati, 办补谤补峁嘺, etc. are noted and analysed based on these works.

1.1. Dance of Shiva -By Ananda Comaraswamy

This work contains valuable essays based on Indian art. Some topics related to art are Hindu view of art: Historical and Theory of beauty, The Dance of Shiva, Indian images with many arms, Indian music and so on. This gives an insight into the field of dance, music and drama.

2.2. The Sanskrit Drama in its Origin, Development, Theory and Practice -By A.B. Keith.

The author of this work has dealt elaborately about the origin, development, decline and theory of drama. Regarding the practice of drama, the author has outlined about the playhouse, make-up, actors, histrionic representation and the audience. The information regarding 腻峁単颈办补 abhinaya and its practice and performance is explained briefly.

2.3. Sanskrit Drama -Its aesthetics and production -By Dr. V. Raghavan

The author has researched extensively in the field of Sanskrit Drama. This work is a compilation of his valuable writings on this subject. In this work, he discusses about the history, aesthetics, music, architecture, production and performance of Sanskrit drama. He gives a detailed description of the important aspects of 苍腻峁瓂补 such as 诲补艣补谤奴辫补办补, 耻辫补谤奴辫补办补, 诲丑补谤尘墨 and 惫峁泃迟颈. He explains the facets of classical 苍腻峁瓂补 forms such as 办奴岣峣腻峁�峁�补尘, kathakali, 测补办峁�a驳腻苍补尘 and so on, and their relevance to the elements of the 狈腻峁瓂补艣腻蝉迟谤补. He also adds a chapter on the evidence of tamil literature in relation to the 狈腻峁瓂补艣腻蝉迟谤补.

2.4. Sanskrit Drama on the Stage -By Dr. K. Kunjunni Raja.

The author writes about the importance of the 辫奴谤惫补谤补峁単补 in Sanskrit drama and 办奴诲颈腻峁�峁�补尘. He also adds about the theatre of the 狈腻峁瓂补艣腻蝉迟谤补 and Kerala 办奴迟迟补尘产补濒补尘. He has given an outline of some 肠腻谤颈 movements in 腻峁単颈办补 abhinaya and its relation in 办奴诲颈腻峁�峁�补尘.

2.5. Sanskrit Drama in Theory and Practice -By Dr. 厂补峁単墨迟补-蝉腻谤腻尘峁泃补 Janaki.

The author has given the early literary evidences and highlighted the elements of Sanskrit drama in 狈腻峁瓂补艣腻蝉迟谤补. She has elaborated on the theoretical aspects of 诲补艣补谤奴辫补办补s. From the practice point of view, she has given the performance of Sanskrit drama on stage dealing with 腻峁単颈办补 abhinaya such as abhinaya hastas, 辫腻诲补蝉 and the like mentioned in commentaries of dramas.

2.6. Lectures on 狈腻峁瓂补艣腻蝉迟谤补 -By Dr. Radha Vallabh Tripathi

Various lectures on 狈腻峁瓂补艣腻蝉迟谤补 such as 苍腻峁瓂补veda鈥搕he cosmic view of theatre, 苍腻峁瓂补 测补箩帽补-rituals of theatre, etc. are compiled by Dr. Radha Vallabh Tripathi. The author analyses the sub-headings under 苍腻峁瓂补 蝉补峁単谤补丑补, the ritualistic worship followed in Vedic age and the relation between 颈迟颈丑腻蝉补蝉 and 狈腻峁瓂补艣腻蝉迟谤补 in a systematic manner. He has explained the approach of playwrights such as 叠丑腻蝉补 and 碍腻濒颈诲腻蝉补 towards the 狈腻峁瓂补艣腻蝉迟谤补 and topics related to 耻辫补谤奴辫补办补蝉.

2.7. Studies in the 狈腻峁瓂补艣腻蝉迟谤补鈥揥ith special reference to the Sanskrit drama in performance -By Dr. G.H.Tarlekar.

Dr. Tarlekar has done a thorough study of all the details given in the chapters of the 狈腻峁瓂补艣腻蝉迟谤补. In this work, he has brilliantly explained the aspects of abhinaya and has given the stage direction of how the dramas should be presented, based on the 狈腻峁瓂补艣腻蝉迟谤补.

2.8. Classical Indian dance in literature and the arts -By Dr. Kapila Vatsyayan

This work is the result of the author鈥檚 doctoral thesis on Indian classical dance in relation to the literature. It includes chapters on Indian aesthetics, theory and techniques of classical dances of India, dance in relation to literature, sculpture and music.

2.9. 碍补谤补峁嘺蝉鈥擟ommon dance codes of India and Indonesia -By Dr. Padma Subrahmanyam

Dr. Padma who is a performer of classical dance has done her doctoral research on 鈥�碍补谤补峁嘺蝉 in Indian Dance and Sculpture鈥�. In this work, she has brought out the elements of 腻峁単颈办补 abhinaya in detail and dealt with the chapters on dance such as 腻峁単补, up腻峁単补, 蝉迟丑腻苍补, 肠腻谤颈, 尘补峁囜笉补濒补, 办补谤补峁嘺 and 补峁単补丑腻谤补 of the 狈腻峁瓂补艣腻蝉迟谤补. She has re-constructed the 办补谤补峁嘺s based on the 狈腻峁瓂补艣腻蝉迟谤补 and 础产丑颈苍补惫补产丑腻谤补迟墨, along with the 办补谤补峁嘺 sculptures found in the temples of Ta峁僯膩v奴r, Kumbakonam, Cidambaram, 罢颈谤耻惫补峁囜箛腻尘补濒补颈 and Vriddh膩calam. After completing the research, she has found some 办补谤补峁嘺 sculptures in Pr膩mba峁嘺n temple, South Java, built in the 9th century, which resembled her 办补谤补峁嘺 re-construction. 碍补谤补峁嘺蝉 were translated as 鈥�poses鈥� by previous scholars but the author has explained all the 办补谤补峁嘺s based on 艣濒辞办补蝉 of 狈腻峁瓂补艣腻蝉迟谤补 and 础产丑颈苍补惫补产丑腻谤补迟墨, and proved that they are 鈥榤ovements鈥�.

2.10. A study of the technique of Abhinaya in relation to Sanskrit drama -By Dr. Shiveni P. Pandya

The author has given a detailed description of the techniques of abhinaya as in the 狈腻峁瓂补艣腻蝉迟谤补 and a comparative study with other works such as 础产丑颈苍补测补诲补谤辫补峁嘺, 厂补峁僩墨迟补谤补迟苍腻办补谤补, 狈峁泃测补谤补迟苍补办辞艣补 and so on along with illustrations from Sanskrit dramas. He explains where to make use of the 腻峁単颈办补, 惫腻肠颈办补, 腻丑腻谤测补 and 蝉腻迟迟惫颈办补 elements in dramas. In 腻峁単颈办补 abhinaya, the author has dealt with the aspects of 补峁単补蝉, up腻峁単补s, hasta, 肠腻谤颈, 尘补峁囜笉补濒补 and gati. The concept and usage of gati is briefly described in this work.

2.11. The concept of Dance in Classical Sanskrit Literature -By Dr. G.S. Hegde

The terms connected with drama and dance is explained based on its varieties in available texts. The elements of dance occurring in poetry, dramas and prose in Sanskrit literature along with citations from them are discussed in this work by the author in detail. This is a general study and it does not refer to any particular aspect of of abhinaya.

2.12. Movement and Mimesis -By Mandakranta Bose

The author has given an elaborate account of the dance works in Sanskrit literature and their contents followed by the aspects of dance such as 濒腻蝉测补, 苍峁泃测补 and 耻辫补谤奴辫补办补蝉, bandha and anibandha 苍峁泃测补s, and the 诲别艣颈 traditions. She has referred to gatis without elaborating its technical aspects.

2.13. Sanskrit play production in Ancient India-By Tarla Mehta

This work deals with the entire elements of play production starting from the audience side i.e. siddhi, 谤补峁単补, rasa, 产丑腻惫补, 惫峁泃迟颈, pra惫峁泃迟颈 and then comes to the performance side i.e. abhinaya, 诲丑补谤尘墨, 驳腻苍补 and 腻迟辞诲测补. Evidence of the survival of play in India, South East Asia and other countries are discussed. Then the scenes from various dramas of 叠丑腻蝉补, 碍腻濒颈诲腻蝉补 and others are explained based on its performance of abhinaya.

2.14. Movements (Gatis) in 狈腻峁瓂补 according to Bharata鈥檚 狈腻峁瓂补艣腻蝉迟谤补

[Dissertation for M.Phil. and 狈腻峁瓂补 abhinaya-Ph.D. Thesis by Dr. Ambika Kameswar]

The author has enlisted the theoretical aspects of gati as in the 狈腻峁瓂补艣腻蝉迟谤补 with a critical introduction and concluding remarks. The author鈥檚 Ph.D. research on n膩tya abhinaya includes a detailed study on Sanskrit dramas and abhinaya aspects related to them but here the aspect of gati is not given primary importance. Performance of abhinaya in 础产丑颈箩帽腻苍补 艢腻办耻苍迟补濒补尘 and 搁补迟苍腻惫补濒颈 are elucidated.