Kathakali - Knowledge (XXG)

1196: 1217:) based training system. Artist families tended to pick promising talent from within their own extended families, sometimes from outside the family, and the new budding artist typically stayed with his guru as a student and treated like a member of the family. The guru provided both the theoretical and practical training to the student, and the disciple would accompany the guru to formal performances. In modern times, professional schools train students of Kathakali, with some such as those in Trivandrum Margi school emphasizing a single teacher for various courses, while others such as the Kerala Kalamandalam school wherein students learn subjects from different teachers. Kathakali schools are now found all over India, as well as in parts of Western Europe and the United States. 795: 40: 903: 1336:, 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. Kathak traditionally has included female actor-dancers, unlike Kathakali which has traditionally been performed by an all-male troupe. Kathak deploys much simpler costumes, makeup and no face masks. Both dance forms employ choreography, face and hand gestures traceable to the 1279: 564: 5670: 256: 158:. A Kathakali performance, like all classical dance arts of India, synthesizes music, vocal performers, choreography and hand and facial gestures together to express ideas. However, Kathakali differs in that it also incorporates movements from ancient Indian martial arts and athletic traditions of South India. Kathakali also differs in that the structure and details of its art form developed in the courts and theatres of Hindu principalities, unlike other classical Indian dances which primarily developed in 997: 637: 451: 134: 5321: 1974:"A summation of the signal importance of the Natyasastra for Hindu religion and culture has been provided by Susan Schwartz, "In short, the Natyasastra is an exhaustive encyclopedic dissertation of the arts, with an emphasis on performing arts as its central feature. It is also full of invocations to deities, acknowledging the divine origins of the arts and the central role of performance arts in achieving divine goals (...)". 6976: 5333: 6986: 6965: 1288: 5416: 5359: 6996: 5345: 126: 3936: 5408: 529:. Some characters have a green face (representing heroic or excellence as a warrior) with red dots or lines on their cheeks or red-coloured moustache or red-streaked beard (representing evil inner nature), while others have a full face and beard while others have a full face and beard coloured red, the latter implying excessively evil characters. 894: 885: 652:", where the word part of the character's dialogue is expressed through "hand signs (mudras)", while emotions and mood is expressed through "facial and eye" movements. In parallel, vocalists in the background sing rhythmically the play, matching the beats of the orchestra playing, thus unifying the ensemble into a resonant oneness. 240:), the theory of rasa, of bhāva, expression, gestures, acting techniques, basic steps, standing postures–all of which are part of Indian classical dances including Kathakali. Dance and performance arts, states this ancient Hindu text, are a form of expression of spiritual ideas, virtues and the essence of scriptures. 97: 933:), music and synchronized with the dance-acting on the stage. The vocalists not only deliver the lines, but help set the context and express the inner state of the character by modulating their voice. For example, anger is expressed by the use of sharp high voice and pleading is expressed by the use of a sad tone. 342:, told the story of Krishna embodied as a humble cowherd, his consort Radha, and three cow girls. Kathakali also incorporates several elements from other traditional and ritualistic art forms like Mudiyettu, Theyyam and Padayani besides folk arts such as Porattu Nadakam that shares ideas with the Tamil 1220:

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. A typical course work in Kathakali

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Of all classical Indian dances, Kathakali has the most elaborate costuming consisting of head dresses, face masks and vividly painted faces. It typically takes several evening hours to prepare a Kathakali troupe to get ready for a play. Costumes have made Kathakali's popularity extend beyond adults,

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The performance involves actor-dancers in the front, supported by musicians in the background stage on right (audience's left) and with vocalists in the front of the stage (historically so they could be heard by the audience before the age of microphone and speakers). Typically, all roles are played

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Music is central to a Kathakali performance. It sets the mood and triggers emotions resonant with the nature of the scene. It also sets the rhythm to which the actor-dancers perform the choreography and scenes. Some major musical patterns, according to Clifford and Betty, that go with the moods and

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meaning lamp), can be traced back to Kutiyattam. In both traditions, the performance happens in the front of a huge Kalivilakku with its thick wick sunk in coconut oil, burning with a yellow light. Traditionally, before the advent of electricity, this special large lamp provided light during the

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performance where an ancient story is playfully dramatized. Traditionally, a Kathakali performance is long, starting at dusk and continuing through dawn, with interludes and breaks for the performers and audience. Some plays continued over several nights, starting at dusk every day. Modern

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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, Johann Wolfgang von Goethe and

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Like many classical Indian arts, Kathakali is choreography as much as it is acting. It is said to be one of the most difficult styles to execute on stage, with young artists preparing for their roles for several years before they get a chance to do it on stage. The actors speak a

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A Kathakali performance typically starts with artists tuning their instruments and warming up with beats, signalling to the arriving audience that the artists are getting ready and the preparations are on. The repertoire includes a series of performances. First comes the

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emphasizes physical conditioning and daily exercises, yoga and body massage to tone the muscles and sculpt the growing body, along with studies and dance practice. Per ancient Indian tradition, young students continue to start their year by giving symbolic gifts to the

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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.

1010:) exist, most of which were written before the 20th century. Of these, about four dozen are most actively performed. These plays are sophisticated literary works, states Zarrilli, and only five authors have written more than two plays. The late 17th century 543:, Panchali and Mohini. 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. Vella Thadi (white beard) represents a divine being, someone with virtuous inner state and consciousness such as 1026:. The Nala-Damayanti story has roots in the texts of 1st millennium BCE and is found in the Mahabharata, but the Kathakali play version develops the characters, their inner states, the emotions and their circumstances far more than the older texts. 462:

The makeup follows an accepted code, that helps the audience easily identify the archetypal characters such as gods, goddesses, demons, demonesses, saints, animals and characters of a story. Seven basic makeup types are used in Kathakali, namely

1354:(能) integrates masks, costumes and various props in a dance-based performance, requiring highly trained actors and musicians. Emotions are primarily conveyed by stylized gestures while the costumes communicate the nature of the characters in a 559:

who act as messengers or carriers, but do not fit the other categories. 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.

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performance, as in Kathakali. In both, costumed men have traditionally performed all the roles including those of women in the play. The training regimen and initiation of the dance-actors in both cultures have many similarities.

491:. These vary with the styles and the predominant colours made from rice paste and vegetable colors that are applied on the face. Pachcha (green) with lips painted brilliant coral red portrays noble characters and sages such as 309:, that developed under the sponsorship of Sri Manavedan Raja, the ruler of Calicut (1585-1658 AD). The traditional legend states that Kottarakkara Thampuran (also known as Vira Kerala Varma) requested the services of a 1724:"Like most traditional modes of storytelling and performance in India, Kathakali plays enact one or more episodes from regional versions of the pan-Indian religious epics (Ramayana and Mahabharata) and Puranas." 1195: 1133:

system of transmission from one generation to the next. 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.

388:(literally, "enacted story"), written in Sanskritized Malayalam. These plays are written in a particular format that helps identify the "action" and the "dialogue" parts of the performance. The 2926: 848:

The entrance of characters onto the Kathakali stage can be varied. Many of these ways are not found in other major Indian classical dance traditions. Kathakali employs several methods:

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defines the character of someone or something, and the costumes and face colouring in Kathakali often combines the various colour codes to give complexity and depth to the actor-dancers.

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M Innes-Brown and S Chatterjee (1999), The Relevance of the Guna Theory in the Congruence of Eastern Values and Western Management Practice, Journal of Human Values, 5(2), pages 93-102

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The roots of Kathakali are unclear. Jones and Ryan state it is more than 500 years old. Kathakali emerged as a distinct genre of performance art during the 16th and 17th centuries in

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The most studied version of the Natya Shastra text consists of about 6000 verses structured into 36 chapters. The text, states Natalia Lidova, describes the theory of Tāṇḍava dance (

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have been composed so that they can be performed within four hours. Modern productions have extracted parts of these legendary plays, to be typically performed within 3 to 4 hours.

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Kari (black) is the code for forest dwellers, hunters, and middle ground character. Demonesses and treacherous characters are also painted black but with streaks or patches of red.

682:, which each actor masters through facial muscle control during his education, in order to express the emotional state of the character in the play. The theory behind the 82: 110:. It is a "story play" genre of art, but one distinguished by the elaborately colourful make-up and costumes of the traditional male actor-dancers. It is native to the 1470:

The gender exclusivity is one of the significant differences between Kathakalī and other classical Indian dances which either included or favored female actor-dancers.

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is provided by classical Sanskrit texts such as Natya Shastra, but sometimes with different names, and these are found in other classical Indian dances as well. The

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also expanded the performance repertoire, style and standardized the costume making it easier for the audience to understand the various performances and new plays.

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Kathakali is still hugely male-dominated, but since the 1970s, women have made entry into the art form on a recognisable scale. The central Kerala temple town of

624:(good, evil, active) are present in everyone and everything, it is the proportion that is different, according to the Hindu worldview. The interplay of these 279:, 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". 1233: 4715: 586:. There are three Guṇas, according to this philosophy, that have always been and continue to be present in all things and beings in the world. These three 870:, where the character is slowly revealed by the use of a curtain. The "tease" method is typically used for characters with hidden, dangerous intentions. 3967: 3637: 367:

separated these roles allowing the dancer-actor to excel in and focus on choreography while the vocal artists focused on delivering their lines.

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performances are shorter. The stage with seating typically in open grounds outside a temple, but in some places, special theatres called

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texts grant considerable flexibility to the actors to improvise. Historically, all these plays were derived from Hindu texts such as the

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night. As the play progressed, the actor-dancers would gather around this lamp so that the audience could see what they are expressing.

173:. In modern compositions, Indian Kathakali troupes have included women artistes, and adapted Western stories and plays such as those by 1278: 392:

part is the metrical verse, written in third person – often entirely in Sanskrit - describing the action part of the choreography. The

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The play is in the form of verses that are metered and lyrical, sung by vocalists whose voice has been trained to various melodies (

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The fully developed style of Kathakali originated around the 16th century, but its roots are in the temple and folk arts (such as

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through the audience, a method that engages the audience, led by torchbearers since Kathakali is typically a night performance

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The traditional themes of the Kathakali are folk stories, religious legends and spiritual ideas from the Hindu epics and the

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was enacted twice by the actor while the vocalists sang the lines repeatedly as the actor-dancer played his role out.

291:. The designs of these theatres usually matched the dimensions and architecture recommended as "ideal" in the ancient 563: 6930: 6422: 5455: 5428: 5337: 5203: 4701: 4646: 4165: 4161: 2611:

N Pani (2009), Hinduism, in Handbook of Economics and Ethics (Editors: Jan Peil and Irene Staveren), Edward Elgar,

1225:, such as a few coins with betel leaves, while the teacher gives the student a loincloth, a welcome and blessings. 1737:

Daugherty, Diane (2005). "The Pendulum of Intercultural Performance: Kathakalī King Lear at Shakespeare's Globe".

7025: 6950: 5876: 5390: 5325: 5188: 5098: 4743: 4656: 1014:, in his short life, produced four plays which are traditionally considered the most expressive of the Kathakali 433:

The stage is mostly bare, or with a few drama-related items. One item, called a Kalivilakku (kali meaning dance;

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and other scholars, Kathakali shares many elements such as costumes with ancient Indian performance arts such as

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by male actor-dancers, though in modern performances, women have been welcomed into the Kathakali tradition.

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musical style (for comic, light-hearted, or fast-moving scenes involving heroic or anger-driven activity).

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The traditional plays were long, many written to be performed all night, some such as those based on the

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James G. Lochtefeld, Guna, in The Illustrated Encyclopedia of Hinduism: A-M, Vol. 1, Rosen Publishing,

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South Asian Folklore: An Encyclopedia : Afghanistan, Bangladesh, India, Nepal, Pakistan, Sri Lanka

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Kathakali has traditionally been an art that has continued from one generation to the next through a

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The expressive part of the performance, which constitutes the dance-drama, is split into four types:

264: 213:) which means "performance" or "play". The dance symbolises the eternal fight between good and evil. 1348:

Kathakali-style, costume rich, musical drama are found in other cultures. For example, the Japanese

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performances, which are preliminary 'pure' (abstract) dances that emphasize skill and pure motion.

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Wichmann, Elizabeth (1990). "Tradition and Innovation in Contemporary Beijing Opera Performance".

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Kathakali has lineages or distinctive schools of play interpretation and dance performance called

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and others because unlike the older arts where the dancer-actor also had to be the vocal artist,

206: 194: 151: 86: 5984: 3172: 1373:), like Kathakali presents artists with elaborate masks, costumes and colorfully painted faces. 313:

troupe, but his request was denied. So Kottarakkara Thampuran created another art form based on

177:. In 2011, a performance expressing Christian doctrine was staged for the first time in Kerala. 6450: 5500: 1987: 1864: 1672: 982:, hourglass-shaped drum with muted and melodious notes played when female characters perform). 6979: 6859: 6849: 6715: 6650: 6043: 5839: 5829: 5375: 5118: 4891: 4724: 4661: 4580: 3904: 3879: 3825: 3806: 3796: 3779: 3758: 3739: 3718: 3694: 3622: 3585: 3564: 3519: 3491: 3427: 3400: 3394: 3373: 3319: 3257: 3230: 3203: 3176: 3099: 3072: 3045: 3013: 2960: 2857: 2636: 2612: 2586: 2447: 2420: 2350: 2323: 2289: 2283: 2262: 2222: 2195: 2189: 2156: 2118: 2088: 2061: 2011: 1960: 1868: 1832: 1798: 1709: 1705: 1676: 1638: 1604: 1570: 1518: 1479:

Modern performances with microphone and speakers sometimes position the vocalists in the back.

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A tradition Kathakali play typically consists of two interconnected parts, the third-person

6720: 6630: 6521: 6121: 6116: 6081: 6056: 5942: 5899: 5586: 5446: 5193: 5148: 5001: 4936: 4921: 4896: 4544: 3848: 3652: 3603: 3456: 3348: 3286: 1746: 1411: 1168: 583: 410: 247:. The roots of Kathakali, states Mahinder Singh, are more ancient and some 1500 years old. 107: 154:) of the southwestern Indian peninsula, which are traceable to at least the 1st millennium 6989: 6854: 6807: 6789: 6739: 6673: 6655: 6598: 6548: 6367: 6271: 6144: 6106: 6076: 5914: 5804: 5643: 5636: 5483: 5218: 5158: 5113: 4956: 4860: 4825: 4804: 4609: 4434: 4204: 3150: 2894: 2892: 6760: 1320:

are same as other major classical Indian dances, traceable to Sanskrit texts such as the

5493: 106:) is a traditional form of classical Indian dance, and one of the most complex forms of 6824: 6603: 5947: 5824: 5794: 5629: 5056: 5046: 5021: 4951: 4855: 4840: 4835: 4794: 4779: 4769: 4489: 4219: 4106: 4060: 3976: 3768: 3165: 2004: 1857: 1791: 1698: 1665: 1631: 1511: 1406: 1401: 1374: 1011: 526: 676:, and numerous more minor ones in Kathakali. There are nine facial expressions called 7014: 6940: 6844: 6623: 6397: 6135: 6026: 5937: 5871: 5244: 5163: 5143: 4926: 4602: 4429: 4324: 4309: 4274: 4194: 4091: 4040: 3607: 1758: 1416: 1391: 1322: 657: 649: 459:

with children absorbed by the colors, makeup, lights and sounds of the performances.

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Wootten, Claire F. (2009). "Navigating Liminal Space in the Feminist Ballet Class".

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The Garland Encyclopedia of World Music: South Asia : the Indian subcontinent

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Routledge International Encyclopedia of Women: Global Women's Issues and Knowledge

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Routledge International Encyclopedia of Women: Global Women's Issues and Knowledge

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Nambeesan Smaraka Awards — For artistic performances related kathakali (1992–2008)

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are dialogues in Malayalam (Sanskritized) for the actors to interpret and play. A

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music (depict tension, dispute, disagreement between lovers or competing ideas);

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written to be performed for many sequential nights. However, others such as the

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The Rise of Performance Studies: Rethinking Richard Schechner's Broad Spectrum

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Many musical instruments are used in Kathakali. Three major drums found are

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Wallace Dace (1963). "The Concept of "Rasa" in Sanskrit Dramatic Theory".

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performance arts. It is traditionally attributed to Unniri Panikkar, in a

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Emigh, John; Zarrilli, Phillip (1986). "Beyond the Kathakalī Mystique".

2652: 2650: 6765: 6618: 6536: 6526: 6301: 6291: 6264: 6259: 6249: 6204: 6189: 6184: 5964: 5909: 5894: 5886: 5853: 5720: 5623: 5598: 5574: 5559: 5473: 5463: 5280: 5036: 5011: 4931: 4916: 4886: 4865: 4682: 4549: 4534: 4449: 4414: 4359: 4319: 4279: 4254: 4141: 4111: 4010: 3860: 3638:"In the Shadow of Hollywood Orientalism: Authentic East Indian Dancing" 3468: 3298: 1180: 1051: 579: 544: 492: 306: 288: 166: 2898: 2175: 1326:, but the expression style in each is very different and distinctive. 338:, a dance drama based on the Gita Govinda of the twelfth-century poet 6802: 6797: 6775: 6588: 6541: 6500: 6382: 6372: 6311: 6219: 6162: 6157: 6011: 5698: 5534: 5520: 5505: 5285: 5270: 5265: 4991: 4585: 4509: 4464: 4409: 4394: 4354: 4314: 4304: 4294: 4101: 4070: 4045: 4000: 1451: 1436: 1362: 1332: 1298: 979: 673: 594: 552: 508: 496: 244: 115: 22: 4693: 3852: 3460: 3315:

By Means of Performance: Intercultural Studies of Theatre and Ritual

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is dance-drama art form about the life and activities of Hindu god

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Bruno Nettl; Ruth M. Stone, James Porter and Timothy Rice (1998).

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is performed behind a curtain and without all the costumes, while

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is the likely immediate precursor of Kathakali, states Zarrilli.

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Kathakali Dance-Theatre: A Visual Narrative of Sacred Indian Mime

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