Gati in Theory and Practice
by Dr. Sujatha Mohan | 2015 | 88,445 words
This page relates ‘Rasa-nishpatti—The goal of Natya’ 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.
Rasa-nishpatti—The goal of Natya
In nāṭya, the happenings of the past are enacted. By witnessing the nāṭya the audience experience the rasas portrayed by the actors such as, the feelings of love, wrath and sorrow. Nāṭya that comprises of nṛtta brings joy to the ears, eyes and the various sense organs. Thus, the people witnessing the nāṭya derive great pleasure and satisfaction as per their tastes and so it is honoured by all. The main purpose of nāṭya is to create rasa. The enjoyment of an aesthetic bliss is derived through witnessing a performance.
Bharata says,
“There could be nothing without the relishment of sentiments.”
na hi rasādṛte kaścidarthaḥ pravartate |[1]
Bharata assigns rasa as the foremost among the elements of Nāṭyaśāstra. Nāṭya was mainly created for the sake of enjoyment when requested by the Devas. Thus, rasa niṣpatti is an important feature of all arts. Bharata says, Prekṣaka, an ideal spectator is one who possesses the sense organs bereft of confusions, expertise to distinguish between good and bad by conjecture, absence of blemish and as genuine interest in histrionics.[2]
Footnotes and references:
[1]:
Ibid.VI.32.
[2]:
Ibid.XXVII. 54.