Gati in Theory and Practice

by Dr. Sujatha Mohan | 2015 | 88,445 words

Hinduism Natyashastra

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Summary: This essay studies the Theory and Practice of Gati: A Sanskrit technical term translated to “gait” which refers to the “movement of a character on the stage”, as commonly employed 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.

Copyright:
Creative Commons Licence Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0).

Source 1: exoticindiaart.com
Source 2: shodhganga.inflibnet.ac.in

Contents of this online book ( + / - )

The full text of the Gati in Theory and Practice in English is available here and publically accesible (free to read online). Of course, I would always recommend buying the book so you get the latest edition. You can see all this book’s content by visiting the pages in the below index:

Acknowledgement

. Literature review–Primary textual sources of study

. Secondary sources on Nāṭya

. Chapterisation—Thesis structure

. Research Methodology

+ Chapter 1 - Nāṭya

. Nāṭya—The Sanskrit theatrical art form

. References to drama, dance and music in Sanskrit literature

. Literature review—Technical treatises on Nāṭya (Introduction)

. Introduction to the Nāṭyaśāstra

. An analysis of the chapters in Nāṭyaśāstra

. Technical treatises on Nāṭya (other works)

. Observations on works on nāṭya in Sanskrit literature

. Analysis of technical terms: Nāṭya, Nṛtta, Nṛtya

. Analysis of technical terms: Mārga and Deśī

. Analysis of technical terms: Tāṇḍava and Lāsya

. Analysis of technical terms: Abhinaya

. Literary and dramatic elements in Nāṭyaśāstra

. Elements of Āṅgika-abhinaya in Nāṭyaśāstra

. Nṛtta as a division of Āṅgika-abhinaya

. Rasa-nishpatti—The goal of Natya

+ Chapter 2 - Concept and technique of Gati

. Gati—Etymological meaning and description

. Gati in works on Nāṭya

. Gati in Nāṭyaśāstra with explanations from Abhinavabhāratī

. Gaits according to theatre

. Gaits according to characters

. Gaits relevant for sentiments

. Gaits pertaining to conditions

. Gait of birds and animals

. Observations on Gati aspects

. Relevant Sthānas and Nyāyas related to perform the Gati

. Manifestation of Gati in Cārīs and Karaṇas (Introduction)

. Performance of Cārī

. Performance of Gati through Maṇḍalas

. Representation of Gati with Karaṇas and Aṅgahāras

. Elucidation of Karaṇas related to Gati

. Enactment of gati with Cārīs and Karaṇas

. Description of Gati as in Viṣṇudharmottarapurāṇa

. Description of Gati as in Bharatārṇava

. Description of Gati as in Nṛttaratnāvali

. Description of Gati in Abhinayadarpaṇa

. Description of Gati as in Saṅgītamuktāvalī

. Development and Evolution of Gati

+ Chapter 3 - Application of gati in Dṛśya-kāvyas

. Sanskrit dramas and their performance

. Relevance of Gati in Rūpakas

. Importance of Gati in Uparūpakas

. Technical terms seen in Uparūpakas

. Reference to Nāṭya, Nṛtta and Nṛtya Gati in Sanskrit dramas

. Prayoga of Cāris and Karaṇas for depicting the Gati

. Justifications based on Abhinavabhāratī

. Gati performed in Nṛtta

. Gati performed in Pūrvaraṅga

. Gati performed in Dhruvā-gāna

. Gati performed in Lāsyāṅgas

. Gati performed as Lokadharmī and Nāṭyadharmī

. Gati in Vṛttis and Pravṛttis

. Gatis according to Theater

. Gati in Kāma-avasthās

. Gati pertaining to Characters

. Gati pertaining to conditions and situations

. Gati in aerial sphere

. Gati in vehicles

. Gati used for the delineation of Bhāva and Rasa

. Observations and findings

+ Chapter 4 - Practice of Gati

. Nāṭyaśāstra and regional deśi art forms

. Practice of dance forms in temples

. Temple sculptures as sources for practice of arts

. Dance movements found in sculptures

. Temples as seat of learning

. Gati in classical form of Bharatanāṭya

. Gati in classical forms especially Bharatanṛtya

. Nṛtya Nāṭaka

. Kuravañji Nāṭaka

. Bhāgavata-mela Nāṭaka

. Nāṭṭupura Naḍanam

. Gati in classical form of Kathakali

. Gati in classical form of Mohiniāṭṭam

. Gati, as found in classical theatres of Kūḍiāṭṭam

. Arjunanṛtta

. Tullal

. Gati in Yakṣagāna

. Gati in folk forms

. Gati in Kūchipuḍi

. Gati in folk dances of Andhra

. Gati in classical dance form of Oḍissi

. Gati in classical dance form of Kathak

. Gati in Maṇipurī

. Gati in Sattriya

. Ankianat, one act play

. Gati found in Chau of Eastern India

. Gait identified in the martial arts of India

. Gati in contemporary Sanskrit theatre

. Observations and findings on the practice of Gati

+ Chapter 5 - Conclusion

. Observations based on Nāṭyaśāstra

. Observations in Post-Bharata works

. Findings through this research

. Scope and creativity in Gati based on tradition

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Last Updated: 25 May, 2023

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