Gati in Theory and Practice

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

This page relates ‘Literary and dramatic elements in Natyashastra’ 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.

Literary and dramatic elements in Nāṭyaśāstra

Bharata enlists the essential requirements of nāṭya in the form of a saṅgraha śloka. They are:

rasa—the sentiments,
bhāva—the states,
abhinaya—the histrionic representations,
dharmī—the practice,
vṛtti—the styles,
pravṛtti—the regional styles,
siddhi—the success,
svara—the notes,
ātodya—the instrumental music,
gāna—the songs and
raṅga—the stage.

rasā bhāvā hyabhinayā dharmī vṛttipravṛttayaḥ |
siddhiḥ svarāstathātodyaṃ gānaṃ raṅgaścasaṃgrahaḥ ||[1]

Abhinava gupta states that, this kārika is the view of Kohala. Kohala has put in all the essential elements of nāṭya into a nutshell and formed a saṅgraha śloka. The order of the elements are explained and analysed by many scholars, who have worked on the Nāṭyaśastra. All these components of the nāṭya saṅgraha, in the chain, leads to rasa and in this way nātya precede from the outer world to the inner self.[2]

1. Rasa

Rasa is that which can be relished (āsvādyatvāt). The aesthetic experience realized in reading a literary work or witnessing a performance or tasting good food is rasa. Just as people who have a special liking for the food that they enjoy by mixing various ingredients, such as spices and condiments, the intellectuals appreciate the sthāyi bhāvas combined with the gestural representation of the moods.

Hence, they are called nāṭyarasas, the sentiments relating to dramatic performances.

yathā bahudravyayuktaircyañjanairbahubhiryutam |
āsvādayanti bhuñjānā bhaktaṃbhaktavido janāḥ ||
bhāvābhinayasaṃbaddhān sthayibhāvāṃstathā budhāḥ |
āsvādayanti manasā tasmānnāṭyarasāḥ smṛtāḥ ||[3]

Rasa literally means juice or an extract. rasyate anena rasaḥ |In the parlance of nāṭya, rasa is that enjoyment which is experienced after witnessing a performance or even after reading a story. Here, even sorrow or anger is enjoyed because these emotions are not part of our normal daily life, or because it does not occur in reality. It is enacted by the actor or it is elucidated by the writer. The dialogue or action is supplemented by emotion evoked through the minor limbs of the face such as actions like glances, throbbing of lips, and movement of eyebrows. The beautiful movement of the body, which is technically correct and appealing, pleases the senses. However, on a higher level, there is something which gives a satisfaction and enlightenment, and that is rasa. The purpose of any art is to bring out the aesthetic enjoyment in the spectator. Thus, the bhāva in the mind of the spectator is aroused by the abhinaya of the actor leads to the deleniation of rasa.

Bharata says,

na hi rasādṛte kaścidarthaḥ pravartate |

There could be nothing without the relishment of sentiments. It is considered as the aesthetic delight. Rasa is analysed in different ways by scholars of post Bharata period and the theories of Utpattivāda of Bhaṭṭa Lollaṭa, Anumittivāda of Śri Śaṅkuka, Bhuktivāda of Bhaṭṭanāyaka and Abhivyaktivāda of Abhinavagupta have been theories which are the outcome of these. Abhinava views rasa as that which emerges due to the vāsanas acquired in previous births. He says the bhāvas within are the memories.[4]. He also adds that rasa is nāṭya and nāṭya is rasa.

The rasa enlisted by Bharata are:

  1. sṛṅgāra,
  2. hāsya,
  3. karuṇa,
  4. raudra,
  5. vīra,
  6. bhayānaka,
  7. bībhatsa and
  8. adbhuta.

According to the view of some scholars like Abhinavagupta, there is a ninth rasa called śānta born from the sthāyi bhāva called śama. Thus, rasa was popularly known as the navarasas. Later, rasas such as preyas, vātsalya, prīti, bhakti, śraddhā, laulya, mṛgayā, akṣa, vyasana, duhkha, sukha and many more were added by scholars of later periods.

2. Bhāva

Bhāva is the emotional fervour, which helps to realize the rasa. This word arises from the root bhu-bhav-to be. It is so called, because the bhāva becomes a rasā.

The bhāva, which is already present in a person, transforms into rasa.

“They are called bhāvas, since they convey the theme of the poem by means of speech, physical action and mental feelings.”

ucyate vāgaṅgasattvopetān kāvyārthān bhāvayantīti bhāvā iti |[5]

The feeling contained in the character is to be expressed in a very understandable way to the onlooker, for they are responsible for evoking rasa, the mood within oneself as it emerges out as an enjoyable experience. Bhāva, the state of mood or the human emotions will be present in the character and the spectator as well. They can be analysed as sthāyi (dominant) and vyabhicāri (fleeting)

The sthāyi bhāvas are the static emotions or moods present within the person. They are:

  1. rati,
  2. hāsa,
  3. śoka,
  4. krodha,
  5. utsāha,
  6. bhaya,
  7. jugupsā and
  8. vismaya.

These sthāyi bhāvas are responsible for creating the rasas. Though, there are many bhāvas, Bharata states that only the eight bhāvas have the quality of creating rasa. These are dormant states of mind and should be efficiently portrayed by the actors on the stage, in order to achieve the process of rasa realization.

The Vyabhicāri bhāvas are the transitory moods. These are also called sañcāri bhāvas or fleeting emotions, because they are not static. They come in and strengthen the sthāyi bhāvas and move away in order to create the rasas, related to the sthāyis. For example, rati is the sthāyi bhāva of a situation, in a scene, where the hero and the heroine are in love with each other. The sañcāri bhāvas such as harṣa, śaṅkā, cintā, supta, and so on, which come in and strenghthen the sthāyi of rati, which results in śṛṅgāra rasa.

The physical involuntary expressions that manifest themselves as a result of the intensity of emotion in the mental plane are known as sāttvika bhāvas (temperamental moods).

This is a reflection of the concentration of mind.

manasaḥsamādhau sattvaniṣpattirbhavatīti |[6]

The eight temperamental moods are:

  1. sthambha—paralyses,
  2. svedha—perspiration,
  3. romāñca—horripulation,
  4. svarasāda—change of voice,
  5. vepathutrembling,
  6. vaivarṇya—change of colour,
  7. aśruweeping and
  8. pralaya—fainting.

Sattva means real, true, consciousness and many more. The real flow of emotions such as tears, horripilation, etc. cannot be controlled by the actor when he or she is involved or one with the character. When the actor turns emotional due to the concentration of mind these sāttvika bhāvas appear.

Vibhāva (determinant) is so called because many things are determined (vibhāvyate) by the employment of words, gestures and mental feelings. These are the causes for the production of rasa. Anubhāva (consequent) is so called because they are effected (anubhāvyate) through words, gestures and mental feelings in performance. Therefore, these are the effects in the production of rasa.

Bharata states that,

“The vibhāvas (determinants), anubhāvas (consequents) and vyabhicāri bhāvas (transitory moods) cause the production of rasas (sentiments).

tatra vibhāvānubhāvavyabhicārisaṃyogādrasaniṣpattiḥ ||[7]

The sthāyi, the static emotion is strengthened by the combination of vibhāva, anubhāva and the vyabhicāri in order to produce the respective rasa of the sthāyi bhāva.

Bhāva, the mental feeling, when properly communicated (abhinaya) by the actor, rasa is relished. Thus, rasa is brought out through the combination of sthāyi bhāva (permanent mood) and the other three bhāvas.

There is no rasa without the accompaniment of bhāva and no bhāva devoid of rasa.

na bhāvahīno'sti raso na bhāvo rasavarjitaḥ |
parasparakṛtā siddhistayoradhinaye bhavet ||[8]

3. Abhinaya

According to Bharata histrionic representation can be done in four ways in a dramatic performance, they are:

  1. āṅgika—gestural, which is conveyed by body actions,
  2. vācika—verbal which is conveyed by words,
  3. āhārya—extraneous, which is conveyed by dress, ornaments and the like, and
  4. sāttvika—internal, which is conveyed by the manifestations of the internal feelings such as sveda.

All the plays are based on these four abhinayas. If a play is not communicated properly, it cannot produce the desired rasa. Therefore, this is very essential for all productions.

Bharata also enumerates two more abhinayas as an extension of sāttvika abhinaya, they are sāmānya and citra abhinaya, generic and special representations respectively. Sāmānya abhinaya is a combination of āṅgika, vācika and sāttvika abhinayas.[9] Citra abhinaya deals with the special features of āṅgika abhinaya such as depicting some objects or ideas such as morning, noon, five senses and their sensations, etc. Abhinavagupta says that, in sāmānya abhinaya, importance is given to the rasa and in citra abhinaya it is given to vibhāva.

4. Dharmī

Dharmī refers to the rules laid down in a dramatic practice, the ways or modes of practice or presentation.

They are of two kinds;

nāṭyadharmī (stylistic) and
lokadharmī (realistic).

dharmī yā dvividhā proktāmayā pūrvaṃ dvijottamāḥ |
laukikīnāṭyadharmī ca tayorvakṣyāmi lakṣaṇam ||[10]

When a play represents natural behaviour of characters it is lokadharmī, which is the factual representation of the happenings around us on the stage. Nāṭyadharmī is characterized by the actions superseding the natural course of the text.

When the representation of mountains and vehicles are done by humans and if a character moves about the stage with graceful movements of the limbs and dancing steps instead of the usual walk it is nāṭyadharmī.

Dramas should always be performed on the basis of nāṭyadharmī. Without the accompaniment of musical instruments and gestures of limbs it is not possible for the audience to enjoy a performance.”

nāṭyadharmīpravṛttaṃ hi sadā nāṭyaṃ prayojayet |
na hyaṅgābhinayātkiñcidṛte rāga pravartate ||[11]

This does not mean that lokadharmī should not be adopted in a play. Sometimes the sāttvika bhāvas such as aśru, romāñca and so on, evolves within the character on the stage while acting. This is possible when a person takes a particular character or even when a dancer does a particular role. Thus, the emotive aspects can be performed in a realistic manner. But, the dancer should immediately be able to shift to the mood of another character. That is why lokadharmī is not preferred in some instances.

In nāṭyadharmī, hand gestures are in use to depict a feeling or action, like haṃsāsya, which can be shown for tears and sūcī for wiping the tears, haṃsāsya for goosebumps (romāñca) or perspiration (sveda), and sūcī for swooning (pralaya), etc. This is āṅgika abhinaya, but if it is transformed to sāttvika, then it will be in lokadharmī mode. In lokadharmī, the actions do not have any extra style in performing, but in nāṭyadharmī the posture, gait, speech and acting is performed in a conventional way. Lokadharmī realistically reflects the behavior of the people whereas, nāṭyadharmī theatrically emphasizes on the method of acting.

Kallinatha adds in the commentary of Saṅgītaratnākara that lokadharmī is based on the sāttvika abhinaya, which has the eight bhāvas of sthamba, etc., and nāṭyadharmī is based on the hasta abhinaya.

sāttvikābhinaye'pi naṭena bhāvayitbāsvarūpato darśitāḥ stambhādayo lokadharmī; ta eva sākṣātkṛtā hastābhinayena darśitā nāṭyadharmī |[12]

5. Vṛtti

Vṛtti is considered as the mother of all the kāvyas.

sarveṣāmeva kāvyānāṃ mātṛkāvṛttayaḥ smṛtāḥ |[13]

They are the styles connected with the physical, verbal and mental activities of the actors in nāṭya. These vṛttis were born out of the actions of Viṣnu and their elements are called vṛttyaṅgas. Bharata adds that, these vṛttis are the ways to pūrusārthas.

Bharata mentions that the actions of vāk, aṅga and sattva, which are attained through vṛttis, that are responsible for the attainment of pūruṣārthas.

Abhinava also quotes on this: He says,

vyāpāraḥ pumarthasādhakovṛttiḥ |[14]

Vṛttis are important aspects in creating nāṭya. They are of four kinds:

Bhāratī vṛtti evolved from Ṛgveda, sāttvatī vṛtti from Yajurveda, kaiśikī vṛtti from Sāmaveda and ārabhaṭī vṛtti from Atharvaveda.”[15]

Bhāratī vṛtti—denotes the verbal style consisting of speeches and dialogues in nāṭya.
Sāttvatī vṛtti—the grand style is considered as the emotional style consisting of bhāva and rasa aspects.
Kaiśikī vṛtti—the graceful style has elements of grace, beauty, well-dressed characters, with women, songs and dance.[16]
Ārabhaṭī vṛtti—the violent style consists of force, vigour and bold heroism. It has a variety of cāris and karaṇas used for fighting.[17]

6. Pravṛtti

Pravṛttis are the local usages based on the four regional divisions. The practice of persons living in a particular region is different from another region. This is based on the common style regarding dress, language, customs, and behavior and so on, of the people of a region. Bharata divides the whole of Bhāratavarṣa into four geographical divisions based on the directions north, south, east and west. Based on the behavior and likings of the people of that region Bharata suggests the vṛittis pertaining to that region.

Pravṛttis or the regional classifications are of four;

Āvantī,
Dākṣinātya,
Pāñcālī and
Oḍhramāgadhī.

caturvidhā pravṛttistu proktānāṭyaprayoktṛbhiḥ |
āvantī dākṣiṇātya ca pāñcalī coḍramāgadhī ||[18]

Dākṣinātyā pravṛtti pertains to the southern provinces and kaiśikī vṛtti is employed in this region. These people are fond of dance, music and instruments and this style is represented by beautiful and graceful movements of the limbs. Āvanti pravṛtti is the western region where sāttvatī and kaiśikī vṛttis are employed. Oḍhramāgadhī pravṛtti pertains to the eastern region. Pāñcāla pravṛtti is the northern region where sāttvatī and ārabhaṭī vṛttis are employed. In this, the music is less and the gaits of the actors are slanted to one side.

Based on these instructions given by Bharata, dramas were composed in different regions using their Prākṛt languages, pertaining to the tastes of the local people. Thus, the people belonging to every region had a similar taste in enjoying a particular vṛitti or style of nāṭya in which a particular abhinaya was abundant that is, the people in the southern region will be interested in kaiśikī vritti, which is based on the āṅgika abhinaya.

7. Siddhi

Bharata mentions two kinds of siddhis of a production, namely mānuṣi (human) and daivikī (divine) which are generated by speech, mental involvement and gestures relating to different emotional states.[19]

Smile, laughter, appreciation, horripulation and so on are some of the mānuṣi siddhis. The enjoyment of dramatic performances by the spectator with excessive emotional participation and mental involvement is characterized as daivikī siddhi. Even when the theatre is full with an audience and there is no sound, no agitation nor any calamity caused by elements like meteors, the experience is divine.

8. Svara

The sound which emanates from the vocal chord of a human or instruments such as vīnā, veṇu are classified into seven musical notes named as:

  1. saḍja,
  2. riṣabha,
  3. gāndhāra,
  4. madhyama,
  5. pañcama,
  6. daivata and
  7. niṣāda.[20]

9. Ātodya

Ātodya refers to the instruments, which are classified into four kinds;

  1. tata–stringed, consists of instruments like the vīnā,
  2. avanaddha—percussion instruments such as mṛdaṅga, muraja, and maddala.
  3. ghana—solid instruments like cymbals.
  4. suṣira—hollow instruments such as flute.[21]

10. Gāna

The term Dhruvā comprehends all that have been used by Braḥmanas, like Nārada, as the limbs of songs, ṛks, pāṇikas and the seven kinds of gitāṅgas with their specifications. A song of a single vastū is called dhruvā, while the one with two vastūs is spoken of as parigītika. The song with three vastūs may be known as madraka while that with four vastūs is called catuṣpada.

Varṇas, alaṅkāras, yatis, and layas are often related and hence they are called dhruvās.

Dhruvās are of five kinds and their names are related to the occasion of song. They are praveśaentrance, ākṣepa—diversion, prasādana—pacification, antara—transition and niṣkrāma—exit”.[22]

Prāveśikī dhruvā is sung during the entrance of the characters having different emotions and meanings suitable to the occasion. The song used at the end of an act, when a character is leaving the stage is called naiṣkrāmikī dhruvā. The ākṣepikī dhruvā is used in drutalaya and in vilambitalaya by changing the sequence. The prasādikī dhruvā is to pacify the emotion of the mind that is subjected to a sudden change. The antara dhruvā is purported to fill up the gaps in-between various occasions like sorrow, loss of consciousness, giddiness, arranging of dress and ornaments and the like. These are the five dhruvās.

11. Raṅga

The play-house is of three types namely vikṛṣṭa -rectangular, caturaśra -square and tṛyaśra -triangular. These play-houses are of three dimensions each; jyeṣṭa -large, madhya -medium and avara -small which are for Gods, Kings and ordinary people respectively.[23] Thus totally there are nine types. Their measurements are given as 108, 64 and 32 hastas (cubits i.e. 24 aṅgulas or 18 inches) or daṇḍas (4 hastas). The play-house for the humans preferred is a medium size rectangular one. The prekṣāgṛha (auditorium hall) consists of the raṅgaśīrsa, raṅgapīṭha, mattavārinī and nepathyagṛha.

Footnotes and references:

[2]:

Article of Radha Vallabh Tripathi in Living traditions of Nāṭyaśāstra p.9.

[3]:

Nāṭyaśāstra VI. 37, 38.

[4]:

Ibid.VI.p 612,665

[5]:

Ibid.VII. 1.

[6]:

Ibid.VII. p.362

[7]:

Ibid.VI. 32.

[8]:

Ibid.VI.36

[9]:

Ibid.XXII.1.

[10]:

Ibid.VI.24.

[11]:

Nāṭyaśāstra XIII. 83

[12]:

Saṅgīta-ratnāvalī VII. Com.p.11

[13]:

Nāṭyaśāstra XVIII.4.

[14]:

Ibid.XX.com.

[15]:

Ibid.XX. 25.

[16]:

Ibid.VI. 24.

[17]:

Ibid.XX. 14.

[18]:

Ibid.XII.37

[19]:

Ibid.XXVII. 2.

[20]:

Ibid.VI.27.

[21]:

Ibid.XXVIII.1.

[22]:

Ibid.XXXII.27

[23]:

Ibid.II.11.

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