K.L Paulinte 50 Kadhakal

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Ayyappappanikkar (1997). Medieval Indian Literature: An Anthology. Sahitya Akademi. p.317. ISBN 978-81-260-0365-5. 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 ] Kevin J. Wetmore, Jr.; Siyuan Liu; Erin B. Mee (8 May 2014). Modern Asian Theatre and Performance 1900-2000. Bloomsbury Academic. pp.196–197. ISBN 978-1-4081-7720-4. Kathakali is structured around plays called Attakatha (literally, "enacted story" [3]), written in Sanskritized Malayalam. [28] [30] These plays are written in a particular format that helps identify the "action" and the "dialogue" parts of the performance. [30] The Sloka part is the metrical verse, written in third person – often entirely in Sanskrit - describing the action part of the choreography. [3] [30] The Pada part contains the dialogue part. [30] These Attakatha texts grant considerable flexibility to the actors to improvise. Historically, all these plays were derived from Hindu texts such as the Ramayana, the Mahabharata and the Bhagavata Purana. [31] [32]

Martin Banham (1995). The Cambridge Guide to Theatre. Cambridge University Press. pp. 522–525. ISBN 978-0-521-43437-9.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

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] N Pani (2009), Hinduism, in Handbook of Economics and Ethics (Editors: Jan Peil and Irene Staveren), Edward Elgar, ISBN 978-1-84542-936-2, 216-221 Tarla Mehta (1995). Sanskrit Play Production in Ancient India. Motilal Banarsidass. ISBN 978-81-208-1057-0. Kathakali is still practiced in its Traditional ways and there are experimental plays based on European classics and Shakespeare's plays. Recent productions have adapted stories from other cultures and mythologies, such as those of Miguel de Cervantes, [61] Johann Wolfgang von Goethe and William Shakespeare. [8] [62] Styles: Sampradayam [ edit ]D. Appukuttan Nair, Ayyappa K. Paniker (1993), Kathakali: The Art of the Non-Worldly, Marg Publications, ISBN 978-81-85026-22-0 Coormaraswamy and Duggirala (1917). "The Mirror of Gesture". Harvard University Press. p.4. ; Also see chapter 36 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] 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.

Phillip B. Zarrilli (2000). Kathakali Dance-drama: Where Gods and Demons Come to Play. Routledge. pp.xi, 3. ISBN 978-0-415-13109-4. Ananda Lal (2004). The Oxford Companion to Indian Theatre. Oxford University Press. p.245. ISBN 978-0-19-564446-3. Wootten, Claire F. (2009). "Navigating Liminal Space in the Feminist Ballet Class". CORD: Congress on Research in Dance Conference Proceedings. Cambridge University Press. 41 (S1): 122–129. doi: 10.1017/s204912550000100x. The theory and foundations of Kathakali are same as other major classical Indian dances, traceable to Sanskrit texts such as the Natya Shastra, but the expression style in each is very different and distinctive. [4] Kathakali is different from a similar-sounding Kathak, though both are Indian classical dance traditions of "story play" wherein the stories have been traditionally derived from the Hindu epics and the Puranas. Kathak is an ancient performance art that emerged in North India, with roots in traveling bards retelling mythical and spiritual stories through dance-acting. [9] [75] Kathak traditionally has included female actor-dancers, unlike Kathakali which has traditionally been performed by an all-male troupe. [3] [76] Kathak deploys much simpler costumes, makeup and no face masks. Both dance forms employ choreography, face and hand gestures traceable to the Natya Shastra, but Kathak generally moves around a straight leg and torso movements, with no martial art leaps and jumps like Kathakali. Kathak uses the stage space more, and does not typically include separate vocalists. Both deploy a host of similar traditional Indian musical instruments. [3] [77]

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Richard Schechner (2010). Between Theater and Anthropology. University of Pennsylvania Press. pp.17–18. ISBN 978-0-8122-0092-8. 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 Kathakali repertoire is an operatic performance where an ancient story is playfully dramatized. [28] Traditionally, a Kathakali performance is long, starting at dusk and continuing through dawn, with interludes and breaks for the performers and audience. [3] Some plays continued over several nights, starting at dusk every day. Modern performances are shorter. The stage with seating typically in open grounds outside a temple, but in some places, special theatres called Kuttampalam built inside the temple compounds have been in use. [33] Kapila Vatsyayan (2008). Aesthetic theories and forms in Indian tradition. Munshiram Manoharlal. ISBN 978-8187586357. OCLC 286469807.

Kabuki, another Japanese art form, has similarities to Kathakali. [82] [83] Jīngjù, a Chinese art of dance-acting ( zuo), like Kathakali presents artists with elaborate masks, costumes and colorfully painted faces. [84] [85] Balinese dance also shares similarities. Williams 2004, pp.83–84, the other nine are: Bharatanatyam, Kathak, Kuchipudi, Odissi, Manipuri, Cchau, Satriya, Yaksagana and Bhagavata Mela.Janelle G. Reinelt; Joseph R. Roach (2007). Critical Theory and Performance. University of Michigan Press. pp.110–111. ISBN 978-0-472-06886-9. 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] K.K. Gopalakrishnan (2016). Kathakali Dance-Theatre: A Visual Narrative of Sacred Indian Mime. Niyogi Books. ISBN 9789385285011.