Gati in Theory and Practice
by Dr. Sujatha Mohan | 2015 | 88,445 words
This page relates ‘Gati in Kuchipudi’ 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 in Kūchipuḍi
[Full title: Deśī forms of Andhra (1): Gati in Kūchipuḍi]
Andhra has been the source place for many dance and theatre forms such as Kūchipuḍi and vīthi nāṭaka. Many sculptures related to the dance terms given in Nṛttaratnāvali are seen in these art forms. Other than this, a number of folk dance forms are seen in the rural areas of Andra.
Kūchipuḍi style gives equal importance for nṛtta, nṛtya and nāṭya. The Nṛttaratnāvali is referred to by the practitioners of kūchipuḍi. The female roles are also performed by males. The basic units of practice are called aḍavulu or aḍugulu.[1] This includes chauka, kaṭṭeranaḍugu, kuppiaḍugu, oṇṭaḍuvu, jāraḍuvu, pakkanāṭṭu, and so on.[2] The nṛtta consists of tīrmānaṃs and jatis, which encompasses steps and movements in the form of patterns of dance. The nṛtya portion consists of śabdaṃs and kouthvaṃs, and nāṭya is acting or miming for the songs. The technique of kūchipuḍi has fast rhythmic footwork and sculpture like poses and movements.Karanas like mattalli are done in sama sthana.[3]
Taraṅga is generally the last item in a kūchipuḍi performance where the dancer places her feet on the rim of the brass plate and dances on top of it. It is moved forward and backward based on many rhythmic calculations. One more performance, which is the special feature of kūchipuḍi, is the siṃhanandini in which the dancer paints the lion on the floor with rhythmic feet variations based on siṃhanandana tāla.
Footnotes and references:
[2]:
Ibid.p.67.