Gati in Theory and Practice
by Dr. Sujatha Mohan | 2015 | 88,445 words
This page relates 鈥楥hapterisation鈥擳hesis structure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.
Chapterisation鈥擳hesis structure
Chapter-1: 狈腻峁瓂补 -The Sanskrit theatrical art form
After the introductory chapter, this chapter deals with 苍腻峁瓂补 -the Sanskrit theatrical art form and some references to drama and dance in Sanskrit literature starting from the Vedas to 办腻惫测补蝉 are given. The Sanskrit works on 苍腻峁瓂补 are enlisted and the contents of the texts are explained. The technical terms related to 苍腻峁瓂补 are explained briefly. Dramatic elements as in the 狈腻峁瓂补艣膩stra, which are related to Sanskrit dramas, are elucidated. The observations and findings based on the study on 苍腻峁瓂补 text prevailed during various centuries are given.
Chapter-2: Concept and performance of gati
This chapter deals with gati -Its etymological meaning and description in works on 苍腻峁瓂补. Varieties of gati as in the 狈腻峁瓂补艣膩stra pertaining to sentiments, characters, theater, conditions and situations are given and its explanation based on 础产丑颈苍补惫补产丑腻谤补迟颈 are added. Enactment of gati with 肠腻谤颈蝉, 尘补峁囜笉补濒补蝉 and 办补谤补峁嘺蝉 are elucidated. Varieties of gatis as in texts such as 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补 辫耻谤腻峁嘺, 叠丑补谤补迟腻谤峁嘺惫补, 狈峁泃迟补谤补迟苍腻惫补濒颈, 厂补峁僩墨迟补尘耻办迟腻惫补濒颈 and 础产丑颈苍补测补诲补谤辫补峁嘺 are also explained in this chapter.
Chapter-3: Application of gati in d峁浥泍a 办腻惫测补蝉.
This chapter describes the performance of Sanskrit dramas and the relevance of gati in dramatic forms. The 谤奴辫补办补蝉 and upa谤奴辫补办补蝉, which are the source for present day drama and dance traditions, are elaborated. References to 苍腻峁瓂补 and 苍峁泃迟补 in them are given. The prayoga of 肠腻谤颈蝉 and 办补谤补峁嘺蝉 for depicting the gati is explained based on 础产丑颈苍补惫补产丑腻谤补迟颈. Enactment of gati in Sanskrit dramas are detailed in which gatis are performed in the 辫奴谤惫补谤补峁単补, 诲丑谤耻惫补驳腻苍补蝉, 濒腻蝉测腻峁単补蝉, 苍峁泃迟补, 苍腻峁瓂补dharm墨 and 濒辞办补诲丑补谤尘墨, 惫峁泃迟颈蝉 and pra惫峁泃迟颈蝉, 办补办峁腻 惫颈产丑腻驳补, 苍腻测颈办腻 and the like. All the varieties of gati expounded by Bharata in the 狈腻峁瓂补艣膩stra are explained with appropriate examples from dramas. Observations and findings about enactment of gati are enlisted.
Chapter-4: Practice of Gati
This chapter deals with the practice of gati in the regional art forms. The temple sculptures, which have been the sources for the development of these art forms, are analyzed. The performance of gati in 诲别艣墨 classical, folk dance and drama forms such as bharata苍腻峁瓂补m, kathakali, o岣峣ssi, kathak, terukk奴ttu, bh膩gavatamelam, k奴岣峣膩峁弓am, chau, etc. and other contemporary theatres and martial arts are elaborated. Observations and findings on the practice of gati are enlisted.
Chapter-5: Conclusion
Observations based on the 狈腻峁瓂补艣膩stra such as, gati is an integral part of drama and dance; gati is a combination of 腻峁単颈办补 and s膩ttvika abhinayas; gati is 产丑腻惫补谤补蝉腻迟尘补办补; and so on are enlisted. Finding through this research such as, gati is an essential element in 谤奴辫补办补 and upa谤奴辫补办补; gati can be performed with 肠腻谤颈蝉, 尘补峁囜笉补濒补蝉 and 办补谤补峁嘺蝉 in 苍腻峁瓂补, 苍峁泃测补 and 苍峁泃迟补 are enlisted. The evolution of gati in post-Bharata period is found as the concept of gati completely takes a new form after Bharata. Further topics of research can be on 辫颈峁囜笉颈产补苍诲丑补蝉, 补峁単补丑腻谤补蝉 and other choreographic elements in the 狈腻峁瓂补艣膩stra. Finally, it is ascertained that gati is instrumental in bringing out the rasa in 苍腻峁瓂补 and rhythmical and aesthetic beauty in 苍峁泃迟补 and 苍峁泃测补.