Gati in Theory and Practice
by Dr. Sujatha Mohan | 2015 | 88,445 words
This page relates 鈥楪ati in folk forms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.
Gati in folk forms
[Full title: 顿别艣墨 forms of Karnataka (2): Gati in folk forms]
碍辞濒腻峁璦 is a folk dance form popular in Karnataka, which has many varieties such as ja岣峞 办辞濒腻峁璦 and gajje 办辞濒腻峁璦. These forms are examples of union of music and dance. The rhythm of the sticks and the steps go together with the music or song. The dancers bend, jump, leap, and move around energetically to perform a variety of movements and patterns. There are many 肠腻谤墨蝉 like 耻谤诲丑惫补箩腻苍耻, 产丑谤补尘补谤墨, j膩nubhramari, etc. performed in these 办辞濒腻峁璦 varieties, known as baggolu (bend and beat), 产别峁単辞濒耻 (lie down and beat), 蝉耻峁璯辞濒耻 (take round and beat), geelgolu (kneel down and beat), 丑补谤补办补岣嶀笉颈 (jump and beat), and 辞苍迟补办补岣嶀笉颈 (beating with one stick).[1]
Footnotes and references:
[1]:
Indian Art History Congress, p.75,76.