Of all classical Indian dances, Kathakali has the most elaborate costuming consisting of head dresses, face masks and vividly painted faces. [10] [34] [35] It typically takes several evening hours to prepare a Kathakali troupe to get ready for a play. [36] [37] Costumes have made Kathakali's popularity extend beyond adults, with children absorbed by the colors, makeup, lights and sounds of the performances. [24] a b c d e f g h i j k l m Peter J. Claus; Sarah Diamond; Margaret Ann Mills (2003). South Asian Folklore: An Encyclopedia. Routledge. pp.332–333. ISBN 978-0-415-93919-5. Richard Schechner (2010). Between Theater and Anthropology. University of Pennsylvania Press. pp.213–218. ISBN 978-0-8122-0092-8. Bruno Nettl; Ruth M. Stone, James Porter and Timothy Rice (1998). The Garland Encyclopedia of World Music: South Asia: the Indian subcontinent. Routledge. pp.331–343. ISBN 978-0-8240-4946-1. Kapila Vatsyayan (2008). Aesthetic theories and forms in Indian tradition. Munshiram Manoharlal. ISBN 978-8187586357. OCLC 286469807.

Ananda Lal (2004). The Oxford Companion to Indian Theatre. Oxford University Press. p.245. ISBN 978-0-19-564446-3.

a b c d e James G. Lochtefeld (2002). The Illustrated Encyclopedia of Hinduism: A-M. The Rosen Publishing Group. p.359. ISBN 978-0-8239-3179-8. Krishnanattam is the likely immediate precursor of Kathakali, states Zarrilli. [24] Krishnanattam is dance-drama art form about the life and activities of Hindu god Krishna, that developed under the sponsorship of Sri Manavedan Raja, the ruler of Calicut (1585-1658 AD). [24] The traditional legend states that Kottarakkara Thampuran (also known as Vira Kerala Varma) requested the services of a Krishnanattam troupe, but his request was denied. So Kottarakkara Thampuran created another art form based on Krishnanattam, called it Ramanattam because the early plays were based on the Hindu epic Ramayana, which over time diversified beyond Ramayana and became popular as 'Kathakali'. [24] Ayyappappanikkar (1997). Medieval Indian Literature: An Anthology. Sahitya Akademi. p.317. ISBN 978-81-260-0365-5.

Natalia Lidova (1994). Drama and Ritual of Early Hinduism. Motilal Banarsidass. ISBN 978-81-208-1234-5. Wichmann, Elizabeth (1990). "Tradition and Innovation in Contemporary Beijing Opera Performance". TDR. MIT Press. 34 (1): 146–178. doi: 10.2307/1146013. JSTOR 1146013. The term Kathakali is derived from katha ( Malayalam: കഥ, from Sanskrit) which means "story or a conversation, or a traditional tale", and kaḷi ( Malayalam: കളി) which means "performance" or "play". The dance symbolises the eternal fight between good and evil. [9] [10] History [ edit ]

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Eric C. Rath (2004). The Ethos of Noh: Actors and Their Art. Harvard University Asia Center. pp.1–27. ISBN 978-0-674-01397-1. a b c d Cheris Kramarae; Dale Spender (2004). Routledge International Encyclopedia of Women: Global Women's Issues and Knowledge. Routledge. pp.295–296. ISBN 978-1-135-96315-6. a b c d e f Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993). Indian Theatre: Traditions of Performance. Motilal Banarsidass. pp.317–318. ISBN 978-81-208-0981-9.