Gati in Theory and Practice

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

This page relates ‘Enactment of gati with Caris and Karanas’ 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.

Enactment of gati with Cārīs and Karaṇas

The word cārī, karaṇa and gati have almost similar meaning connected with movement, action, gait, walk and so on. Cārī movement involves the whole leg. Karaṇas are dance movements that involve the whole body, importance given to nṛtta hasta and cārī. Gati also involves the action of the limbs of the body but it is the walking technique. Karaṇa movements can be used for gati, i.e. the dance movements can be used as gait. Thus, gati can be enacted with cārīs, maṇḍalas, karaṇas and aṅgahāras.

Bharata says, cārī is to be performed along with gati and with the support of tāla.

gatya vādyānusāriṇyā tasyāścārī prayojayet |[1]

He also says that tāṇḍava (nṛtta) is to be performed in vardhamānaka of bahiryavanikā.

vardhamānamathāpīha tāṇḍavaṃ yatra yujyate |[2]

Footnotes and references:

[2]:

Ibid.V.13.

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