Gati in Theory and Practice
by Dr. Sujatha Mohan | 2015 | 88,445 words
This page relates ‘Gati, as found in classical theatres of Kudiattam’ 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, as found in classical theatres of Kūḍiāṭṭam
[Full title: Deśī forms in Kerala (3): Gati, as found in classical theatres of Kūḍiāṭṭam]
Kūttu generally refers to the dance or a play performance. Cākkiarkuttu is a solo dance performed by Cākkiars and Naṅyarkūttu is performed by their female counterpart called Nanyars. The name Kūḍiāṭṭam [Kūḍiāṭṭa], means playing or performing together. It is one of the living tradition of Sanskrit theatre as it still retains the Sanskrit language along with Malayalam dialects.[1] However, it has major elements of vācika and mukhaja abhinaya than aṅga abhinaya like cāri, karaṇa and aṅgahāra. This is an ancient form of drama, which has references in Tamil works such as Silappadigāra.[2]
Kūḍiāṭṭam performance consists of three parts. The first of these is the purappāḍu where an actor enters and performs a verse along with the nṛtta aspect of dance similar to the pūrvaraṅga of the Nāṭyaśāstra. Following this is the nirvahaṇa where the actor, starts abhinaya. The final part of the performance is Kūḍiāṭṭam, which is the play itself. While the first two parts are solo acts, Kūḍiāṭṭam can have as many characters as required to perform on the stage.
Kūḍiāṭṭam has two varieties of cārī: one is normal and the other is comical. The parikramas or the movement around the stage is named as cheriya chokka and valiya chokka, a smaller parikrama and bigger one respectively. The movements in the sky is performed with some cārīs it is called ambarayāna.[3] Viduṣaka performs a peculiar dance called cārī nartana just after he enters the stage. After one cārī is performed, he does a bhramarī moving in all four directions forming a square. The brave character performs the cārī called vaṭṭattil cāṭṭinaṭakkuka (circular walk). Female characters have walk known as cellunti naṭakkuka (slow gait). Character of Śūrpanakha performs the vikaṭa dance and Arjuna character performs some uddhata movements.[4] These are some of the varieties of gaits seen in Kūḍiāṭṭam.
Footnotes and references:
[1]:
Studies in Natyasastra by G.H.Tarlekar. p. 247
[3]:
Studies in Natyasastra by G.H.Tarlekar. p. 257.
[4]:
Sanskrit drama on the stage by K.K. Raja