Gati in Theory and Practice
by Dr. Sujatha Mohan | 2015 | 88,445 words
This page relates ‘Observations and findings’ of the study on the Theory and Practice of Gati (“gait”) which refers to the “movement of a character on the stage”, 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.
Observations and findings
Uparūpakas form the source for choreographic patterns. The gait varieties are seen in many dramas as descriptions or stage directions. Bhāsa has mentioned the name cārī and gati and has described Bhīma as moving with these movements. cārī gatiṃ pracarati[1] Some instances have also been given by commentators. They have been analysed by the researcher and appropriate cārīs, karaṇas, etc., which are given by Bharata in Nāṭyaśāstra are quoted. Abhinava’s view of using the cārīs and karaṇas for performing the gatis are also noted down. Thus, the application of gati is completely analysed.
Footnotes and references:
[1]:
Uru.A\. ? Bharatārṇava I.19.