Gati in Theory and Practice
by Dr. Sujatha Mohan | 2015 | 88,445 words
This page relates ‘Tullal’ 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.
Tullal
[Full title: Deśī forms in Kerala (5): Tullal]
The tullal is a solo dance exposition, which is of three types. Though based on classic principles of the Nāṭyaśāstra, the technique of this art is not rigid. The performance of Oṭṭantullal dance is quite innovative and interesting. The term Oṭṭantullal means jumping and running. It has various aḍavus and lasts for two hours. In sītakantullal the metre and rhythm of the songs are a bit slower than in oṭṭantullal and consequently, dance is also slower in tempo. The parayantullal is the slowest in tempo. Even the stance of the dancer is different from the other two. Here the dancer almost stands erect and explains the meaning of the songs by gestures with very little of the dance element or of action.