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The 狈腻峁瓂补艣腻蝉迟谤补 is the primary source for all kind of research works connected with drama, dance and music. The researcher has done a complete survey of the available texts on 苍腻峁瓂补, analysed the gati aspect in these texts and has taken 狈腻峁瓂补艣腻蝉迟谤补 to revive the elements of gati through 肠腻谤颈蝉 and 办补谤补峁嘺蝉, as it has a wide range of scope. Gati aspects in the 谤奴辫补办补蝉, upa谤奴辫补办补蝉 and practice of regional forms are also identified. Application of gati in Sanskrit dramas of Bhasa and Kalidasa is explained.

The 狈腻峁瓂补艣腻蝉迟谤补 gives a detailed description of the aspects of 苍腻峁瓂补 in all conceivable manners. The technique of gati, which is a combination of the elements of 补峁単补蝉, 辫谤补迟测腻峁単补蝉 and 耻辫腻峁単补蝉 and cadences such as 蝉迟丑腻苍补蝉, 肠腻谤颈蝉, 尘补峁囜笉补濒补蝉, 办补谤补峁嘺蝉, 补峁単补丑腻谤补蝉, 辫颈峁囜笉墨产补苍诲丑补蝉 and so on, are elaborated in 狈腻峁瓂补艣腻蝉迟谤补.

1. 膧峁単ika abhinaya is an element of 苍腻峁瓂补

The 狈腻峁瓂补艣腻蝉迟谤补 speaks of eleven elements of 苍腻峁瓂补. Abhinaya, the histrionic representation is the essential one among them. Gati comes under 腻峁単颈办补 abhinaya, expression through the body. Here, every part of the body that comes under 补峁単补, 耻辫腻峁単补 and 辫谤补迟测腻峁単补 variety are responsible for the action collectively.^[1]

There is a combination of the movements of the limbs known as 艣补谤墨谤补箩补, the facial expression that is mukhaja and the actions like standing, sitting and walking, which is 肠别峁ａ弓腻办峁泃补.^[2]

trividhastv膩峁単ikoj帽eya岣� 艣膩r墨ro mukhajastath膩 |
tath膩 肠别峁ａ弓腻办峁泃补艣caiva 艣膩kh膩峁単op膩峁単asa峁儁uta岣� ||

The correlated movements of the legs and 辫谤补迟测腻峁単补蝉 of the legs are given the name as 肠腻谤墨^[3] and the correlated movements of the hand and 辫谤补迟测腻峁単补蝉 of the arms are given the name as 苍峁泃迟补丑补蝉迟补.^[4]

2. 狈峁泃迟补 is an element of 腻峁単颈办补 abhinaya

艢腻办丑腻, branching out of arms and 补峁卥耻谤补, sprouting of expressions along with 苍峁泃迟补 the dance, forms the structure of 腻峁単颈办补 abhinaya. 艢腻办丑腻 represents the abhinaya hastas (which has a particular literal meaning and can be used for depicting different actions), 苍峁泃迟补 hastas (beautifying hand movements), karavartanas (stretches of arms in various directions) and hasta 办补谤补峁嘺蝉 (wrist movements) and of course the movement of other limbs along with the hands. The abhinaya hastas are very much responsible for giving the meaning of the word, and depicting the ideas such as holding a flower basket (辫耻峁�p补辫耻峁璦),^[5] and plucking the flowers (办丑补峁璦办腻尘耻办丑补), etc. These have to be used in citra abhinaya and the 苍峁泃迟补 hastas in 苍峁泃迟补.^[6] 础峁卥耻谤补 can be through mukhaja abhinaya like 丑腻惫补 (emotion expressed by eyes, and brows) and 丑别濒腻 (graceful movements suggestive of amorous sentiment)^[7] and 苍峁泃迟补 refers to the dance movement of the whole body. 狈峁泃迟补 is the abstract movement of the body, which can be made expressive only when combined with hasta or mukhaja or s膩ttvika abhinaya.

3. 碍补谤补峁嘺 is a unit of 苍峁泃迟补

Bharata defines 办补谤补峁嘺 as a unit of 苍峁泃迟补. These are called 苍峁泃迟补办补谤补峁嘺蝉. He says 苍峁泃迟补 consisting of 办补谤补峁嘺蝉 and 补峁単补丑腻谤补蝉, are to be used in p奴rv膩r补峁単补 as an ancillary for the songs.^[8]

碍补谤补峁嘺s, which are the elements of 补峁単补丑腻谤补蝉, come under the performance of 苍峁泃迟补.

补峁単补h膩ravini峁�panna峁� 苍峁泃迟补峁� tu kara峁嚹伵況ayam ||^[9]

Abhinava adds,

补峁単补h膩raeva 苍峁泃迟补峁� prayogaphala峁� pras奴te |
tada峁単膩d墨ni tu 办补谤补峁嚹乶颈 ||^[10]

4. 狈峁泃迟补办补谤补峁嘺蝉 depicts 惫腻办测腻谤迟丑补 abhinaya

狈峁泃迟补 that consists of the 办补谤补峁嘺蝉 and 补峁単补丑腻谤补蝉, based on the cadences of movements of the body, are used to beautify the drama and as offerings in worship of Gods. According to Abhinava and 艢腻谤峁単补诲别惫补, all the 办补谤补峁嘺蝉 are explained with uses and the author mentions that these can be used for depicting the 惫腻办测腻谤迟丑补 abhinaya.^[11]

5. Gati can be performed with 肠腻谤颈蝉, 尘补峁囜笉补濒补蝉 and 办补谤补峁嘺蝉

Bharata states that 肠腻谤墨s, 尘补峁囜笉补濒补蝉 and 办补谤补峁嘺蝉 can be used in 苍峁泃迟补, yuddha, niyuddha and gati parikrama.^[12]

Abhinava quotes some other scholars opinion also.

yath膩yogamabhinay膩ntar膩le gatiparikrama t膩l膩ntarasandh膩ne yuddhaniyuddha肠腻谤墨sthanakesa帽care v膩 prayoga iti | etacca sarvatra anusara峁嚹珁am |^[13]

Footnotes and references:

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[1]:

Infra鈥揑ntroduction. P.3

[2]:

狈腻峁瓂补艣腻蝉迟谤补 VIII.11.

[3]:

Infra 1.7.5.

[4]:

Infra 1.7.4.

[5]:

狈腻峁瓂补艣腻蝉迟谤补 IX.com.p.44.

[6]:

Ibid.IX.com.p.20.

[7]:

狈腻峁瓂补艣腻蝉迟谤补 XXII.10,11.

[8]:

Ibid.IV.13. Infra

[9]:

狈腻峁瓂补艣腻蝉迟谤补 VIII.15

[10]:

Ibid.IV.com.p.88.

[11]:

狈腻峁瓂补艣腻蝉迟谤补 IV.com.p.88.

[12]:

Infra,2.5.1.3.,2.5.2.,2.5.4.,

[13]:

狈腻峁瓂补艣腻蝉迟谤补 IV.com.108.