Kathakal

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a b c d e Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993). Indian Theatre: Traditions of Performance. Motilal Banarsidass. pp.318–319. ISBN 978-81-208-0981-9. K.K. Gopalakrishnan (2016). Kathakali Dance-Theatre: A Visual Narrative of Sacred Indian Mime. Niyogi Books. ISBN 9789385285011. The play is in the form of verses that are metered and lyrical, sung by vocalists whose voice has been trained to various melodies ( ragas), music and synchronized with the dance-acting on the stage. [53] 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. [54]

a b Daugherty, Diane (2005). "The Pendulum of Intercultural Performance: Kathakalī King Lear at Shakespeare's Globe". Asian Theatre Journal. Johns Hopkins University Press. 22 (1): 52–72. doi: 10.1353/atj.2005.0004. S2CID 161340863. a b c d Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993). Indian Theatre: Traditions of Performance. Motilal Banarsidass. pp.326–328. ISBN 978-81-208-0981-9. The most studied version of the Natya Shastra text consists of about 6000 verses structured into 36 chapters. [12] [15] The text, states Natalia Lidova, describes the theory of Tāṇḍava dance ( Shiva), 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. [11] [12] [16] Dance and performance arts, states this ancient Hindu text, [17] are a form of expression of spiritual ideas, virtues and the essence of scriptures. [18] 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

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Williams 2004, pp.83–84, the other nine are: Bharatanatyam, Kathak, Kuchipudi, Odissi, Manipuri, Cchau, Satriya, Yaksagana and Bhagavata Mela.

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. Kapila Vatsyayan (1977). Classical Indian dance in literature and the arts. Sangeet Natak Akademi. OCLC 233639306. , Table of ContentsKapila Vatsyayan (2008). Aesthetic theories and forms in Indian tradition. Munshiram Manoharlal. ISBN 978-8187586357. OCLC 286469807. 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

Nari Shakti Awardees - Tripunithura Kathakali Kendram Ladies Troupe, Kerela | Ministry of Women & Child Development". wcd.nic.in . Retrieved 20 February 2021.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] Kathakali ( IAST: Kathakaḷi Malayalam: കഥകളി pronunciation ⓘ) is a major form of classical Indian dance. [1] It is a "story game" genre of art, but one distinguished by the elaborately colourful make-up and costumes of the traditional male actor-dancers. [2] [3] [note 1] It is native to the Malayalam-speaking southwestern region of Kerala and is almost entirely practiced and appreciated by Malayali people. [2] [3] [5] Kathakali is one of the eight classical dances of India Hanuman in Kathakali (FACT Jayadeva Varma) The Japanese performance arts Kabuki/ Noh and Chinese performance art Peking Opera are similar in many ways to Kathakali. 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 Kerala. [19] The roots of Kathakali, states Mahinder Singh, are more ancient and some 1500 years old. [20] Links to older performance arts: Kutiyattam and Krishnanattam [ edit ] FACT Jayadeva Varma 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]

Phillip B. Zarrilli (2000). Kathakali Dance-drama: Where Gods and Demons Come to Play. Routledge. pp.xi, 3. ISBN 978-0-415-13109-4. Natalia Lidova (1994). Drama and Ritual of Early Hinduism. Motilal Banarsidass. ISBN 978-81-208-1234-5. a b c Phillip B. Zarrilli (2000). Kathakali Dance-drama: Where Gods and Demons Come to Play. Routledge. pp. 22–25, 191. ISBN 978-0-415-13109-4. Kerala has five other significant theatre traditions - Kutiyattam, and its allied forms Nangiarkoothu, Chakyarkoothu, Krishnanattam and Mohiniyattam

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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. [54] 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 content of the scene are: Chempada (most common and default that applies to a range of moods, in battles and fights between good and evil, also to conclude a scene); Chempa music (depict tension, dispute, disagreement between lovers or competing ideas); Panchari (for odious, preparatory such as sharpening a sword); Triputa (thought-provoking, scenes involving sages and teachers); Adantha (scenes involving kings or divine beings); Muri Adantha musical style (for comic, light-hearted, or fast-moving scenes involving heroic or anger-driven activity). [54] The character types, states Zarrilli, reflect the Guṇa theory of personalities in the ancient Samkhya school of Hindu philosophy. [44] 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. [45] These three Guṇas are sattva (goodness, constructive, harmonious, virtuous), rajas (passion, aimless action, dynamic, egoistic), and tamas (darkness, destructive, chaotic, viciousness). All of these three gunas (good, evil, active) are present in everyone and everything, it is the proportion that is different, according to the Hindu worldview. [45] [46] [47] The interplay of these gunas defines the character of someone or something, [45] and the costumes and face colouring in Kathakali often combines the various colour codes to give complexity and depth to the actor-dancers. [44] [48] Part of a series on 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. Janelle G. Reinelt; Joseph R. Roach (2007). Critical Theory and Performance. University of Michigan Press. pp.110–111. ISBN 978-0-472-06886-9.