K.L Paulinte 50 Kadhakal

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The Japanese performance arts Kabuki/ Noh and Chinese performance art Peking Opera are similar in many ways to Kathakali. A typical Kathakali training centre auditions for students, examining health and physical fitness necessary for the aerobic and active stage performance, the body flexibility, sense of rhythm and an interview to gauge how sincere the student is in performance arts. [70] A typical course work in Kathakali emphasizes physical conditioning and daily exercises, [71] yoga and body massage to tone the muscles and sculpt the growing body, [72] along with studies and dance practice. [70] Per ancient Indian tradition, young students continue to start their year by giving symbolic gifts to the guru, such as a few coins with betel leaves, while the teacher gives the student a loincloth, a welcome and blessings. [70] Yellow is the code for monks, mendicants, and women. Minukka (radiant, shining) with a warm yellow, orange or saffron typifies noble, virtuous feminine characters such as Sita, Panchali and Mohini. [42] Men who act the roles of women also add a false top knot to their left and decorate it in a style common to the region. [42] Vella Thadi (white beard) represents a divine being, someone with virtuous inner state and consciousness such as Hanuman. [41] Teppu is for special characters found in Hindu mythologies, such as Garuda, Jatayu and Hamsa who act as messengers or carriers, but do not fit the other categories. [42] Face masks and headgear is added to accentuate the inner nature of the characters. The garments colours have a similar community accepted code of silent communication. [43] Minukka, the feminine character 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. Richard Schechner; Willa Appel (25 May 1990). By Means of Performance: Intercultural Studies of Theatre and Ritual. Cambridge University Press. pp.131–132, 142–143. ISBN 978-1-316-58330-2.

Elizabeth Wichmann (1991). Listening to Theatre: The Aural Dimension of Beijing Opera. University of Hawaii Press. pp.1–5. ISBN 978-0-8248-1221-8. The Kidangoor style is one of the two, that developed in Travancore, and it is strongly influenced by Kutiyattam, while also drawing elements of Ramanattam and Kalladikkotan. [65] It is traditionally attributed to Nalanunni, under the patronage of Utram Tirunal Maharaja (1815-1861). [65] According to Farley Richmond and other scholars, Kathakali shares many elements such as costumes with ancient Indian performance arts such as Kutiyattam (classical Sanskrit drama) and medieval era Krishnanattam, even though a detailed examination shows differences. [21] Kutiyattam, adds Richmond, is "one of the oldest continuously performed theatre forms in India, and it may well be the oldest surviving art form of the ancient world". [22] Kutiyattam, traditionally, was performed in theatres specially designed and attached to Hindu temples, particularly dedicated to the Shiva and later to Krishna. [23] The designs of these theatres usually matched the dimensions and architecture recommended as "ideal" in the ancient Natya Shastra, and some of them could house 500 viewers. [23] Despite the links, Kathakali is different from temple-driven arts such as "Krishnanattam", Kutiyattam and others because unlike the older arts where the dancer-actor also had to be the vocal artist, Kathakali separated these roles allowing the dancer-actor to excel in and focus on choreography while the vocal artists focused on delivering their lines. [24] Kathakali also expanded the performance repertoire, style and standardized the costume making it easier for the audience to understand the various performances and new plays. [24] Repertoire [ edit ]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. Natalia Lidova (1994). Drama and Ritual of Early Hinduism. Motilal Banarsidass. ISBN 978-81-208-1234-5.

A tradition Kathakali play typically consists of two interconnected parts, the third-person Shlokas and first-person Padams. The Shlokas are in Sanskrit and describe the action in the scene, while Padams are dialogues in Malayalam (Sanskritized) for the actors to interpret and play. [3] A Padam consists of three parts: a Pallavi (refrain), Anupallavi (subrefrain) and Charanam (foot), all of which are set to one of the ancient Ragas ( musical mode), based on the mood and context as outlined in ancient Sanskrit texts such as the Natya Shastra. [3] [58] In historic practice of a play performance, each Padam was enacted twice by the actor while the vocalists sang the lines repeatedly as the actor-dancer played his role out. [58] Wallace Dace (1963). "The Concept of "Rasa" in Sanskrit Dramatic Theory". Educational Theatre Journal. 15 (3): 249–254. doi: 10.2307/3204783. JSTOR 3204783. Alice Boner (1935), "Kathakali", Journal of the Indian Society of Oriental Art, June 1935, pp 1–14. Kathakali has lineages or distinctive schools of play interpretation and dance performance called Sampradayam. These developed in part because of the gurukula system of transmission from one generation to the next. [63] By the 19th-century, many such styles were in vogue in Kerala, of which two major styles have crystallized and survived into the modern age. [63] [64] Philip Zarrilli (1984). The Kathakali Complex: Performance & Structure. Abhinav Publications. ISBN 978-81-7017-187-4.Martin Banham (1995). The Cambridge Guide to Theatre. Cambridge University Press. pp. 522–525. ISBN 978-0-521-43437-9. Williams, Drid (2004). "In the Shadow of Hollywood Orientalism: Authentic East Indian Dancing" (PDF). Visual Anthropology. Routledge. 17 (1): 69–98. doi: 10.1080/08949460490274013. S2CID 29065670. Archived from the original (PDF) on 4 March 2016 . Retrieved 25 July 2016.