Gati in Theory and Practice
by Dr. Sujatha Mohan | 2015 | 88,445 words
This page relates ‘Gati performed as Lokadharmi and Natyadharmi’ 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.
Gati performed as Lokadharmī and Nāṭyadharmī
The two kinds of dramatic practices are realistic and stylistic varieties. When a play represents natural behavior of characters it is lokadharmī, the factual representation of the happenings around us on the stage. Nāṭyadharmī is characterized by the actions superseding the natural course of the text.
When the representation of mountains, vehicles, and the like, are done by a human and if a character moves about the stage with graceful movements of the limbs and dancing steps instead of the normal walk it is nāṭyadharmī.
lalitairaṅgavinyāsaistathotkṣiptapadakramaiḥ |
nṛtyate gamyate cāpi nāṭyadharmī tu sā smṛtā ||[1]
“Dramas should always be performed on the basis of nāṭyadharmī. Without the accompaniment of musical instruments and gestures of limbs it is not possible for the audience to enjoy a performance.”[2]
nāṭyadharmī pravṛttaṃ hi sadā nāṭyaṃ prayojayet |
nahyaṅgābhinayāt kiñcidṛte rāgaḥ pravartate ||puṣpādibhiścandrapādānabhyarcya |[3]
“Gesticulates worshipping the moon beams with sandal, flowers, and others.”
Here the queen should perform the karaṇa called talapuṣpapuṭa.
“Assuming the hasta called puṣpapuṭa on the left side, movement with the tip of the toes and bending on a side constitute the karaṇa called talapuṣpapuṭa.”
vāme puṣpapuṭaḥ pārśve pādo'gratalasañcaraḥ |
tathā ca sannataṃ pārśvaṃ talapuṣpapuṭaṃ bhavet ||
Footnotes and references:
[1]:
Ibid.XIII.79.
[2]:
Ibid XIII. 83.
[3]:
Vik. A-III.