Gati in Theory and Practice
by Dr. Sujatha Mohan | 2015 | 88,445 words
This page relates ‘Gaits according to theatre’ 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.
Gaits according to theatre
The theatre is of three types depending on the shape. In a theatre of the vikṛṣṭa (oblong) type, the actor should adopt the gait of moving forward and backward at a regular pace.
In a triangular theatre, the gait should be to the corners and in a square stage, the movement should be befitting the shape of square.
raṅge vikṛṣṭe bharatena kāryo gatāgataiḥ pādagatipracāraḥ |
tryaśrastrikoṇe caturasraraṅge gatipracāraścaturasra eva ||[1]
So covering the space of the stage is through gaits only. This can be done through mere walking or dancing or a dance-like walk. These form the base for the choreographic elements such as use of space in dance. This type of gati is emphasised in Saṅgītamuktāvali
Footnotes and references:
[1]:
Ibid.XII.20