Gati in Theory and Practice
by Dr. Sujatha Mohan | 2015 | 88,445 words
This page relates ‘Representation of Gati with Karanas and Angaharas’ 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.
Representation of Gati with Karaṇas and Aṅgahāras
An aṅgahāra is a combination of six or more specified karaṇas. The combinations of the karaṇas, that is the aṅgahāras, have been dealt and numbered in the Nāṭyaśāstra as thirty-two aṅgahāras. Some are uddhata, some are sukumāra, and they can be used as nṛtta gati and interspersed in order to enhance the abhinaya items so that the mood of the piece is not altered.
Abhinavagupta says karaṇa is kriyā—action. It is the action of dance. i.e. the action of moving the limbs beautifully.
kriyā karaṇam | kasya kriyā | nṛttasya | gātrāṇāṃ vilāsakṣepasya |[1]
Amarasiṃha says aṅgahāra is known as aṅgavikṣepa, which means gracefully composed limbs.
aṅgahāro'ṅgavikṣepaḥ |[2]
These karaṇas and aṅgahāras can be performed in various speeds while excecuting the nṛtta gati.
apaviddhaṃ drutaṃ caiva[3]
As in the aṅgahāra called apaviddha the movement should be performed in fast tempo.
Abhinava adds, that in between the song the gati is added.
ityaṅgahāre gītakādāvapi madhye srotogatalayādirityadikaṃ nānyathā kriyate |[4]
Sixteen aṅgahāras should be performed in caturaśra tāla (four beats) and other sixteen in tṛyaśra tāla (three beats).[5] From this, it is understood that gati can be performed with aṅgahāras.
Footnotes and references:
[1]:
Ibid.Vol.I.p.91.
[3]:
Nāṭyaśāstra IV.207.
[4]:
Ibid.IV.com.p.169.
[5]:
Ibid.IV.com.p.165.