Gati in Theory and Practice
by Dr. Sujatha Mohan | 2015 | 88,445 words
This page relates 鈥楾erukuttu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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罢别谤耻办奴迟迟耻
[Full title: Desi forms of Tamilnadu (5): 罢别谤耻办奴迟迟耻]
Therukuttu is a popular folk dance theatre that is performed on the streets. It starts with the entry of the 碍补峁弓颈测补办腻谤补苍 who walks around the stage with a suitable gait and introduces the play. Each important character is introduced through the hand held curtain. The gaits vary according to the character. 碍补谤补峁嘺蝉 like 补迟颈办谤腻苍迟补, 办谤腻苍迟补, etc. are seen in the majestic gait of male characters. The main characters perform the whirling movements known as girikai for rhythmic patterns known as 鈥�腻诲颈迟补濒补尘别谤补谤诲耻鈥�. This can be compared with the vardhamanas of the 狈腻峁瓂补艣腻蝉迟谤补.[1]