Introduction

The delineation of gati, in theory and practice of performing arts, forms the basis of this research thesis. The basic structure essential for the performance of gati or gait is nāṭya, the theatre form, nṛtta and nṛtya, the dance forms. References regarding these art forms in Vedas, upavedas, itihāsas, purāṇas, kāvyas and śāstras are enumerated.

The Nāṭyaśāstra is taken as the primary textual source along with sculptural references for rebuilding the gatis. Secondary sources on dance and drama are verified. The literary and sculptural sources available on the technique of nāṭya and other related terms are expounded here. Techniques, such as cāris, maṇḍalas and karaṇas, involved in performing the gati are explained. The gatis are illustrated with examples from Sanskrit dramas. The practices of gati in various deśī forms are enumerated. The evolution of gati through various centuries has been analysed. Gati based on cāris and karaṇas are revived in nṛtya nāṭakas. Thus, the conclusion that gati forms the main base for rasotpatti in nāṭya is established.

Movements are natural for all beings, be it a man, an animal or a plant. Even stone moves when there is heavy wind. These movements were imitated by the actors and were presented in a performance, which had a visual impact on the audience. Gati or gait can be identified in any theatrical performance. The gati or the movement starts from sthiti, which is a static position. The basic function of the body of an actor on stage is gait. Only after moving to a particular place, he starts his acting. Movements or gaits can be seen in nāṭya, as walk, fight and combat, in nṛtya as dance movements with facial expressions and in nṛtta, intricate feet movements based on tāla and laya. In present day parlance, the term gati is mostly connected with tāla or rhythmic factors. Thus, gati is based on the action, space and time.

Gati first makes the audience understand the character and locale. It involves subtle movements by the actors, which go with the dialogues and verses of the drama. It comprises of whirls, leaps, jumps and complicated rhythmic feet movements. At times, it includes even stances that are pauses in between movements. Thus, sthiti or sthāna is the starting and finishing position, which determines the gati in nāṭya.

The term "theatre" is derived from the ancient Greek word, théatron, "a place for viewing" and theáomai, "to see", "to watch" or "to observe". Theatre includes the performances of dramatic forms such as plays, ballets, operas, musicals, dance dramas and various other visual forms of entertainment.

Nāṭya is the art of representation in which the speech, music, gestures and body movements are all harmoniously blended. It is a composite art, enfolding in its range several other fine arts as well. Nāṭya is the dramatic art in which nṛtta and nṛtya, the art of dance, forms an integral part.

Bharata elucidates nāṭya as:

lokavṛttanukaraṇaṃ nāṭyaṃ |^[1]

He says nāṭya is the reflection of the moods of the people in the world. While dance, vocal and instrumental music are auxiliaries to nāṭya, sculpture and painting are the arts through which the aspects of nāṭya can be visualized.

Viṣṇudharmottara purāṇa says,

yathā nṛtte tathā citre trailokyānukṛtiḥ smṛtā |^[2]

Kālidāsa views Nāṭya as a visual art form which is mainly based on its performance.

prayogapradhānaṃ hi nāṭyaśāstraṃ |^[3]

Traces of Vedas are seen in nāṭya, which is considered as the fifth Veda^[4] and it leads one to attain the puruṣārtha. This ancient theatre form is said to have been prevalent from Panini’s period around 5th century BCE, as he has referred to the composer of naṭa sūtra, which were the aphorisms for actors. It is equated with yajña.

The work of an actor is nāṭya, says Panini.

naṭasya karma nāṭya |^[5]

Tolstoy says in his work ‘What is Art?’ thus:

“To evoke in oneself a feeling one has experienced and having evoked it in oneself, then, by movement, lines, colours, sounds, and forms expressed in words so as to transmit that feeling that others may experience the same feeling—this is the activity of art….”^[6].

Gati is a very important aspect of nāṭya. Gati, which refers to the gait, comes from the root word gaṃ gach–to move or to go. In nāṭya when a person enacts any role, such as man, woman, bird or an animal, he should walk around the stage with a movement to represent that character. Thus, the entry of the characters, their action on stage and their exit, come under the classification of gati.

The gati can be presented on stage in a natural way or a stylized way. The gati of an actor should reflect his character. The gati depends upon the age, situation and conditions occurring in the drama. The gait of a person varies if it is in a drama, dance, dance-drama and also with a traditional or contemporary performance. As soon as a person enters the stage, the character being portrayed in that drama can be judged by the audience from his gait. The gait of an ordinary male character can be natural but when performing the role of a king, women, bird or an animal, one should perform the gait in a stylistic way.

Abhinavagupta says, ‘a character should enter with perfect sthāna, dṛṣṭi and mukharāga’–

samucita sthanakadṛṣṭi mukharāgādibhiryuktaḥ |^[7]

Gati involves the action of the body and the face. It is an outcome of the mental feeling of the character. Thus, gati plays an important role in the delineation of rasa as well.

Dr. Raghavan opines that in dramatic forms of Jāva and Bāli, we have several animal gaits that are given by Bharata.^[8] Here he must have referred to the karaṇas based on animal movements.^[9] In the classic Chinese drama, presented in gesture and song, there is not only the preservation of the elaborately codified system of gati or gaits appropriate to different characters, but a considerable part of our āṅgika and citra abhinayas.^[10]

Nāṭya, the theatrical art form belongs to the mārga variety, which is the traditional and classical form. Based on this, many regional forms known as deśī evolved. Traces of the entertainments based on music, dance and drama can be found from the Vedic age. During the āgamic age, we have Lord Śiva as Naṭarāja -the king of dancers. Thus, nāṭya was considered as one of the entertainments, which lead humans to reach the Almighty through enlightenment.

Footnotes and references:

[1]:

Nāṭyaśāstra: Parimal Publications I.112.

[2]:

Viṣṇudharmottara-purāṇa: III. 35.5.

[3]:

Mal: I.p.30.

[4]:

Nāṭyaśāstra Parimal Publications I.15.

[5]:

Aṣṭādhyāyī -4.3.129.

[6]:

Quoted by V. Raghavan in Sanskrit Drama-Its Aesthetics and Production-p.16.

[7]:

Nāṭyaśāstra with Com. A.B. Bharatārṇava Vol.II. p.94 Parimal Publications 2005

[8]:

Sanskrit Drama-Its Aesthetics and Production -V. Raghavan p.111.

[9]:

Nāṭyaśāstra: Parimal Publications IV. 107,129,131,141,142, 144,150,151.

[10]:

Sanskrit Drama-Its Aesthetics and Production -V. Raghavan p.111.