Gati in Theory and Practice
by Dr. Sujatha Mohan | 2015 | 88,445 words
This page relates ‘Prayoga of Caris and Karanas for depicting the Gati’ 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.
Prayoga of Cāris and Karaṇas for depicting the Gati
Bharata, the author of the Nāṭyaśāstra, says that the cārīs and karaṇas are to be used for depicting gatis.
Cārīs are performed for representing the fight and discharge of weapons on the stage.
cārībhiḥ śastramokṣaśca cāryo yuddhe ca kīrtitāḥ ||[1]
The karaṇas are used in parikrama of different characters, battle and combats, and also in nṛtta, which is interspersed in nāṭya.
aṣṭottaraśataṃ hyetat karaṇānāṃ mayoditam |
nṛtte yuddhe niyuddhe ca tathā gatiparikrame ||[2]
The researcher feels that the chapter on gatipracāra is very important for dramatists and the dancers, because the prayoga of āṅgika and sāttvika elements seen in chapters four to twelve of the Nāṭyaśāstra and can be related to this chapter of gatipracāra. Explanation of how to present these gaits on stage with the help of cārīs (leg movements) described in the eleventh chapter and karaṇas (correlated movements of hands and legs) in the fourth chapter, is essential for the performer. With the help of Abhinava’s commentary, the karaṇas can be performed for the gaits of characters. By following this practice, the gait of the actors becomes more stylized and beautiful. Thus, a performance can be highlighted only if the performer is adept in these technical elements of nāṭya and nṛtta.
Footnotes and references:
[1]:
Nāṭyaśāstra X. 5.
[2]:
Ibid. IV.56