Gati in Theory and Practice
by Dr. Sujatha Mohan | 2015 | 88,445 words
This page relates 鈥楨nactment of gati with Caris and Karanas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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Enactment of gati with 颁腻谤墨s and 碍补谤补峁嘺蝉
The word 肠腻谤墨, 办补谤补峁嘺 and gati have almost similar meaning connected with movement, action, gait, walk and so on. 颁腻谤墨 movement involves the whole leg. 碍补谤补峁嘺蝉 are dance movements that involve the whole body, importance given to 苍峁泃迟补 hasta and 肠腻谤墨. Gati also involves the action of the limbs of the body but it is the walking technique. 碍补谤补峁嘺 movements can be used for gati, i.e. the dance movements can be used as gait. Thus, gati can be enacted with 肠腻谤墨s, 尘补峁囜笉补濒补蝉, 办补谤补峁嘺s and 补峁単补丑腻谤补蝉.
Bharata says, 肠腻谤墨 is to be performed along with gati and with the support of 迟腻濒补.
gatya v膩dy膩nus膩ri峁噛膩 tasy膩艣肠腻谤墨 prayojayet |[1]
He also says that 迟腻峁囜笉补惫补 (苍峁泃迟补) is to be performed in 惫补谤诲丑补尘腻苍补办补 of 产补丑颈谤测补惫补苍颈办腻.
惫补谤诲丑补尘腻苍补尘补迟丑腻辫墨丑补 迟腻峁囜笉补惫补峁� yatra yujyate |[2]
Footnotes and references:
[1]:
狈腻峁瓂补艣腻蝉迟谤补 IV.281.
[2]:
Ibid.V.13.