Gati in Theory and Practice
by Dr. Sujatha Mohan | 2015 | 88,445 words
This page relates 鈥楢nalysis of technical terms: Tandava and Lasya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.
Analysis of technical terms: 罢腻峁囜笉补惫补 and 尝腻蝉测补
According to Bharata the term 迟腻峁囜笉补惫补 is a synonym for 苍峁泃迟补. 狈峁泃迟补 was created by 艢颈惫补 and given to 罢补峁囜笉耻 and he in turn added appropriate songs and instruments for presentation and thus it was known as 迟腻峁囜笉补惫补.
recak膩 补峁単补h膩r膩艣ca pi峁囜笉墨bandh膩stathaiva ca |
s峁涐梗峁璿膩 bhagavat膩 dattasta峁囜笉ave munaye 迟补诲腻 ||[1]
罢腻峁囜笉补惫补, which was attributed to Lord 艢颈惫补, was performed by 笔腻谤惫补迟颈 in a delicate manner.
recakair补峁単补h膩rai艣ca n峁泃yanta峁� 惫墨办峁补 艣a峁卥aram |
蝉耻办耻尘腻谤补辫谤补测辞驳别峁嘺 苍峁泃测补苍迟墨 caiva p膩rvat墨m ||[2]
Bharata defines the forceful 迟腻峁囜笉补惫补 as uddhata prayoga and the graceful as s奴kumara prayoga, which was later known as 濒腻蝉测补. Though the movements are the same for 迟腻峁囜笉补惫补 and 濒腻蝉测补, due to the inherent differences in nature of the male and female, the ultimate effect is different when performed by the two genders.
罢腻峁囜笉补惫补 is full of vigour and is supplemented by 濒腻蝉测补, the graceful dance. These represent the violent and the tender nature, that is, the forceful male energy and feminine grace.
Abhinava gupta uses the term 迟腻峁囜笉补惫补 and 濒腻蝉测补 in his commentary where he quotes that 笔腻谤惫补迟颈 is pleased when there is a little of 濒腻蝉测补 and 艢颈惫补 with his 驳补峁嘺蝉 are pleased when there is a little of 迟腻峁囜笉补惫补.
yatki帽cil濒腻蝉测补metena 诲别惫墨 tu峁ati nitya艣a岣� |
yatki帽citta峁囜笉ava峁� tena 蝉辞尘补岣� 蝉腻苍耻肠补谤补岣� 艣颈惫补岣� ||[3]
尝腻蝉测补 according to Bharata is a graceful dance, which is an 补峁単补 of the dramas. The later works describe these dances in various ways. 罢腻峁囜笉补惫补 and 濒腻蝉测补 are the two modes of dancing in which the former represents the forceful dance and the latter represents the gentle dance.[4] According to 艢腻谤补诲腻迟补苍补测补, 迟腻峁囜笉补惫补 is that which has forceful 办补谤补峁嘺蝉 and 补峁単补h膩ras performed in 腻谤补产丑补峁璱 style for the songs sung. It was propagated by 罢补峁囜笉耻, and by this both the word meaning and the sentence meaning are represented.[5] 尝腻蝉测补 is that which is performed for the songs in 办补颈艣颈办墨 style with graceful 补峁単补h膩ras and laya. The term 濒腻蝉测补 is derived from the root 鈥�las鈥� and is performed when the rhythm, song, instruments, dance and the histrionic representation are all performed gently.
Footnotes and references:
[1]:
Ibid.VI.260.
[2]:
Ibid.VI.249, 250.
[3]:
Ibid.vol.I.com.p.178.
[4]:
艢abdakalpadruma vol II p.918.
[5]:
叠丑腻惫补辫谤补办腻艣补 II. pp.45,46.