33:
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123:, calling Silappatikaram a proto-form of terukkuttu. The Silappatikaram story is still performed by the terukkuttu actors, the terukkuttu drama commences and ends in a manner similar to the commencement and end of each canto in the epic, and the actors sing and converse in verse interspersed with prose, the prose coming after the verse as its explanation. Both Silappatikaram and terukkuttu are centered around the
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An acting arena is marked at courtyard of a temple, open ground or any other convenient site and people squat on the three sides of the rectangular arena. The chorus of singers and the musicians occupy the place on the rear side of the stage, and the actors use the front side. Two persons holding a
173:. However, unlike Kathakali, terukkuttu is less codified, and is generally considered a folk art rather than a classical art form. In recent times, some terukkuttu groups have also started operating as professional troupes.
134:
However, historically, the terukkuttu is not more than two to three centuries old. The researcher
Richard A. Frasca wrote that certain of his performer-informants believed that the terukkuttu originally emanated from the
311:
The terukkuttu plays are a combination of song, music, dance and drama along with "clever stage tricks". The actors wear colorful costumes. The musical instruments used by the terukkuttu musicians include
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80:
are often used interchangeably in the modern times; however, historically the two terms appear to have distinguished, at least in certain villages, between two different kinds of performance: while
340:, the elephant-headed Hindu god. The chorus begins an invocation to Ganesha, and prayers are also offered to many other deities. The actor playing Ganesha now moves out of the arena, and
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62:. Terukuttu is a form of entertainment, a ritual, and a medium of social instruction. The terukkuttu plays various themes. One theme is from the Tamil language versions of the
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links the scenes, provides context to the happenings on the stage and also jests in between the scenes. The actors sing themselves, supported by the chorus.
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Hinduism through village dance drama : narrative image and ritual process in South India's terukkuttu and
Yaksagana ritual theaters (Ph.D. thesis)
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referred to mobile performances in a procession, Kattaikkuttu denotes overnight, narrative performances at a fixed performance space.
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relates the story of the play to be performed and introduces the characters. Sometimes, the characters introduce themselves.
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The terukkuttu plays form part of ritual celebrations including the twenty-one day temple festival starting in
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Frasca, Richard
Armando (1998). "The Dice Game and the Disrobing (Pakatai Tuyil): A terukkuttu Performance".
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Many scholars note the similarity between terukkuttu and other neighbouring regional drama forms, such as
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The text of a terukkuttu play is a series of songs related by a theme. Each song is rendered in a
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are performed at
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edited by
Stanley Sadie. (1980). "Introduction to Indian Music: Folk Music".
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The writer M. Shanmugam Pillai has compared terukkuttu to the Tamil epic
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area. It spread from South India to Sri Lanka, and became popular in
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Richmond, Farley P.; Darius L. Swann; Phillip B. Zarrilli (1993) .
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Theatre of the
Mahabharata: terukkuttu Performances in South India
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31:
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Kattaikkuttu: The flexibility of a south Indian theatre tradition
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Kattaikkuttu: The flexibility of a south Indian theatre tradition
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The Terukkūttu : ritual theater of
Tamilnadu (Ph.D. thesis)
395:. Colombo: Department of Cultural Affairs, Ceylon. p. 116.
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Shivaprakash, H S (2007). "Regional theatres (ix. Terukuttu)".
747:"Review: 'A Room in India' Overflows With Astonishing Visions"
637:
The Cult of
Draupadi: Mythologies: From Gingee to Kuruksetra
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Many terukuttu performances center around the enactment of
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108:" is derived from the name of special ornaments known as
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plays from the
Portuguese tradition in Terukuttu style.
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curtain enter the arena, with an actor in the guise of
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639:. University Of Chicago Press. pp. 146ā149.
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207:The core themes of the terukuttu plays include:
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580:W. T. A. Leslie Fernando (24 December 2003).
8:
609:"Did Sinhala drama originate in Christmas?"
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670:Indian Theatre: Traditions of Performance
348:i.e. the narrator) appears on the stage.
867:(1). University of Hawai'i Press: 1ā44.
425:. Abhinav Publications. pp. 39ā44.
728:Symbol of sacrifice: Online edition of
383:
793:
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391:Sarachchandra, Ediriweera R. (1966).
7:
706:"From Street Theater to Kattaikuttu"
421:Varadpande, Manohar Laxman (1990) .
185:story, with emphasis on the role of
131:power of women as cherished values.
1561:Dwarkadheesh Bhagwaan Shree Krishn
559:University of California, Berkeley
292:(The Battle of the Eighteenth Day)
25:
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1582:Kahaani Hamaaray Mahaabhaarat Ki
1224:The Palace of Illusions: A Novel
815:Frasca, Richard Armando (1990).
745:Green, Jesse (6 December 2017).
553:Frasca, Richard Armando (1984).
96:is derived from the Tamil words
842:Gentes, Mary Josephine (1987).
1744:Works based on the Mahabharata
1548:Bhakter Bhogobaan Shri Krishna
1340:Chitrangada: The Crowning Wish
819:. University of Hawaii Press.
491:. E. Forsten. pp. 85ā99.
458:. Orient Longman. p. 23.
58:and Tamil-speaking regions of
1:
72:, focusing on the character
1510:Pandavas: The Five Warriors
770:. Oxford University Press.
76:. The terms Terukkuttu and
1765:
1464:The Legend of Bagger Vance
1203:The Legend of Bagger Vance
949:Kattaikkuttu or terukkuttu
888:Bruin, Hanne M de (1999).
846:. University of Virginia.
607:W. T. A. Leslie Fernando.
487:Bruin, Hanne M de (1999).
456:Landscapes of Urban Memory
454:Srinivas, Smriti (2004) .
370:The French theater group,
324:(an instrument similar to
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1524:Sri Krishnarjuna Yuddhamu
1305:Arjun: The Warrior Prince
423:History of Indian Theatre
200:, the first month of the
27:Tamil street theatre form
1633:Paramavatar Shri Krishna
1391:Draupadi Vastrapaharanam
1383:Draupadi Vastrapaharanam
393:The Folk Drama of Ceylon
1347:Daana Veera Soora Karna
1175:Gods, Demons and Others
1161:Ajaya: Roll of the Dice
524:. Rodopi. p. 116.
104:("theatre"). The word "
1182:The Great Indian Novel
1115:The Mahabharata (play)
520:Barfoot, C.C. (1993).
189:. Terukkuttu plays on
37:
1122:Sri Krishna Rayabaram
1034:Kakawin BhÄratayuddha
861:Asian Theatre Journal
244:(The Vow of Draupadi)
36:Dharumar @Therukkuthu
35:
1676:Manipuri Mahabharata
1298:Amba Ambika Ambalika
917:Traditional theatres
302:in the Battlefield")
1707:Hinduism portal
1154:Ajaya: Rise of Kali
1006:Andhra Mahabharatam
987:Works based on the
674:Motilal Banarsidass
222:Supattirai Kalyanam
1189:Ini Njan Urangatte
1041:Kakawin Hariwangsa
796:has generic name (
751:The New York Times
50:form practised in
38:
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1568:Ek Aur Mahabharat
1231:The Pregnant King
1055:Nepali Shakuntala
926:978-81-8328-075-4
899:978-90-6980-103-2
826:978-0-8248-1290-4
777:978-1-56159-174-9
708:. 4 November 1999
683:978-0-8248-1322-2
646:978-0-226-34046-3
498:978-90-6980-103-2
432:978-81-7017-278-9
372:ThĆ©Ć¢tre du Soleil
234:(The Marriage of
224:(The marriage of
214:(The marriage of
212:Draupadi Kalyanam
16:(Redirected from
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1739:Theatre of India
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1457:Krishna Aur Kans
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