Gati in Theory and Practice
by Dr. Sujatha Mohan | 2015 | 88,445 words
This page relates ‘Bhagavata-mela 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.
Bhāgavata-mela Nāṭaka
[Full title: Desi forms of Tamilnadu (6): Bhāgavata-mela Nāṭaka]
Bhagavata-mela Nāṭaka starts with a toḍayamaṅgala, which is followed by the entry of the koṇaṅgi. His gait is performed in a peculiar way with utplavanas, vikaṭa karaṇas such as argala and so on. The gait of the Koṇaṅgi in the nṛtyanāṭaka and bhāgavatamela nāṭaka not only sends the audience into roars of laughter but also serves to rivet the attention of the audience on the coming play. Bhagavatamelanāṭaka is characterised by superior music, superior sāhitya and superior dancing. The movements in these dance dramas were all based on the Nāṭyaśāstra and post -Bharata texts.
Every character has a praveśa daru for his entry. These harus are set with beautiful slow movements based on the tāla settings, which are suitable for abhinaya interpretation and footwork. In content, the daru gives us the idea of who enters and the mood and the circumstance of the entry.[1] The parikramas are seen as in the Nāṭyaśāstra, where the character moves around the stage in a circular motion before and after each song or dance is performed. Other than this, some of the cāris like samapāda, vichyavā, atikrāntā and janitā are performed to move around the stage.
The highlight of the drama Bhakta Prahalada caritra is the conversation between Narasiṃhā and Hiranyakasipu where the character stands beneath the stage and here the gait of Hiranyakaśipu, forward and backward towards Narasiṃha is very interesting. This gait will be in vīra gati, heading on a fight with Narasiṃha.