Gati in Theory and Practice
by Dr. Sujatha Mohan | 2015 | 88,445 words
This page relates ‘Performance of Gati through Mandalas’ 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.
Performance of Gati through Maṇḍalas
The maṇḍalas are beautiful combinations of the cārīs, which give scope for mere nṛtta and fighting sequences. The maṇḍalas are grouped as the bhū maṇḍalas–—earthly and ākāśa maṇḍala—aeriel, just as the cārīs. Ten maṇḍalas are given in each earthly and aeriel maṇḍalas.
Bhūmaṇḍalas–earthly movements: bhramara, āsyandita, āvarta, samotsarita, elakākrīḍita, aḍḍitā, śakaṭāsya, adhyardha, piṣṭakuṭṭa and cāṣagata.
Ākāśamaṇḍalas–ariel movements: atikrānta, vicitramaṇḍala, lalita sañcāra, sūcīvidda, daṇḍapāda, vihṛta, alāta, vāmaviddha, lalita, and krānta.
The Bhūmaṇḍalas have some ākāśacārīs too and the ākāśamaṇḍalas have some bhūmicārīs too. If the bhūmi or ākāśa cārīs are combined separately based on the category then it is called samacārī maṇḍalas. The gati performed by the maṇḍalas is very important in nāṭya. They are called maṇḍalas because the formations are in circles.
The khaṇḍas are combination of few cārīs performed in semi-circles and maṇḍalas are combination of khaṇḍas and they are performed in circles.
etāni khaṇḍāni samaṇḍalāni yuddhe niyuddhe ca parikrame ca |
līlāṅgamādhuryapuraskṛtāni kāryāṇi vādyānugatāni tajjñaiḥ ||[1]
These gaits can be identified in uparūpakas such as rāsaka, daṇḍarāsaka, nāṭyarāsaka and many dance forms like kummi, kolāṭṭa, garbha and so on. Such circular and semi-circular movements are also in fighting sequences like kalarippayaṭṭu, śilamba, etc.
Footnotes and references:
[1]:
Ibid.XI.70