Gati in Theory and Practice
by Dr. Sujatha Mohan | 2015 | 88,445 words
This page relates ‘Kuravanji Nataka’ 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.
Kuravañji Nāṭaka
[Full title: Desi forms of Tamilnadu (4): Kuravañji Nāṭaka]
Kuravañji nāṭakas became famous during this period, which was a combination of folk and classical elements of music and dance. The gait of a Kuratti and Kuravan is to be noted here. The appearance of the Kuratti (gypsy woman) on the scene serves to provide a lighter form of entertainment. The music and rhythm is generally fast and in tisra naḍai to match the folk movement.