Gati in Theory and Practice
by Dr. Sujatha Mohan | 2015 | 88,445 words
This page relates 鈥楶erformance of Gati through Mandalas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.
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Performance of Gati through Ma峁囜笉alas
The 尘补峁囜笉补濒补蝉 are beautiful combinations of the 肠腻谤墨蝉, which give scope for mere 苍峁泃迟补 and fighting sequences. The 尘补峁囜笉补濒补蝉 are grouped as the bh奴 尘补峁囜笉补濒补蝉鈥撯�攅arthly and 腻办腻艣补 尘补峁囜笉补濒补鈥攁eriel, just as the 肠腻谤墨蝉. Ten 尘补峁囜笉补濒补蝉 are given in each earthly and aeriel 尘补峁囜笉补濒补蝉.
Bh奴尘补峁囜笉补濒补蝉鈥揺arthly movements: bhramara, 腻蝉测补苍诲颈迟补, 腻惫补谤迟补, samotsarita, 别濒补办腻办谤墨岣峣迟补, 补岣嶀笉颈迟腻, 艣补办补峁乻测补, adhyardha, 辫颈峁ａ弓补办耻峁弓补 and 肠腻峁驳补迟补.
膧k膩艣a尘补峁囜笉补濒补蝉鈥揳riel movements: 补迟颈办谤腻苍迟补, vicitra尘补峁囜笉补濒补, lalita 蝉补帽肠腻谤补, 蝉奴肠墨惫颈诲诲补, 诲补峁囜笉补辫腻诲补, 惫颈丑峁泃补, 补濒腻迟补, 惫腻尘补惫颈诲诲丑补, lalita, and 办谤腻苍迟补.
The Bh奴尘补峁囜笉补濒补蝉 have some 腻办腻艣补肠腻谤墨蝉 too and the 腻办腻艣补尘补峁囜笉补濒补蝉 have some 产丑奴尘颈肠腻谤墨蝉 too. If the 产丑奴尘颈 or 腻办腻艣补 肠腻谤墨蝉 are combined separately based on the category then it is called samac膩r墨 尘补峁囜笉补濒补蝉. The gati performed by the 尘补峁囜笉补濒补蝉 is very important in 苍腻峁瓂补. They are called 尘补峁囜笉补濒补蝉 because the formations are in circles.
The 办丑补峁囜笉补蝉 are combination of few 肠腻谤墨蝉 performed in semi-circles and 尘补峁囜笉补濒补蝉 are combination of 办丑补峁囜笉补蝉 and they are performed in circles.
et膩ni kha峁囜笉膩ni sama峁囜笉al膩ni yuddhe niyuddhe ca parikrame ca |
l墨l膩峁単am膩dhuryapurask峁泃膩ni k膩ry膩峁噄 v膩dy膩nugat膩ni tajj帽ai岣� ||[1]
These gaits can be identified in 耻辫补谤奴辫补办补蝉 such as 谤腻蝉补办补, da峁囜笉a谤腻蝉补办补, 苍腻峁瓂补谤腻蝉补办补 and many dance forms like kummi, 办辞濒腻峁弓补, garbha and so on. Such circular and semi-circular movements are also in fighting sequences like 办补濒补谤颈辫辫补测补峁弓耻, 艣颈濒补尘产补, etc.
Footnotes and references:
[1]:
Ibid.XI.70