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India @ a glance ... |
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Information Zone -
Kerala |
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Location
:Southwestern tip of
India
Area : 38,863 sq. km
Population : 31,838,619 (
Census 2001)
Capital : Thiruvananthapuram
(Trivandrum)
Language : Malayalam, English
is widely
spoken
Religion : Hinduism,
Christianity, Islam
Time : GMT + 5:30
Currency : Indian Rupees
Climate: Tropical
Summer : February - May (24 -
38 C)
Monsoon : June - September (22
- 28 C)
Winter : October - January (22
- 32 C)
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AYURVEDA :
Harmony of body, mind
and soul. Ayurveda
evolved around 600 BC
in India. Today, it's a
unique, indispensable
branch of medicine. [more] |
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THE ART OF KATHAKALI |
blog.dreams2choose.com |
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Kathakali is the classical dance-drama of Kerala, South India,
which dates from the 17th century and is rooted in Hindu mythology.
Kathakali has a unique combination of literature, music, painting, acting
and dance.
Kathakali, literally meaning `story-play', is a dance-drama originated in
the 17th century in Kerala, one of the smallest states in India lying on the
west coast of the Indian peninsula. However, its roots could be tracked back
even to the earlier times. Koodiyattom, the only surviving form of Sanskrit
theater in India has been preserved in Kerala for centuries, now, by a small
community called Chakyar as a part of their hereditary temple service.
Krishnanattom, another form of dance-drama considered fore runner to
Kathakali in its origin, is performed even today at the famous Sree Krishna
temple in Guruvayoor as an offering to the Lord. Besides these two forms,
elements from martial, ritualistic, socio-religious arts have also
influenced in the making of Kathakali. |
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ART OF KATHAKALI |
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Though Kathakali is only 300 years old, a
great deal of enrichment and refinement has taken place in every aspect of
its technique during this short period. Scholars are of opinion that
Kathakali is the result of a fusion between all Indian theater tradition
represented by Koodiyattom and the indigenous tradition of folk dance forms.
It was one of the Rajas (Chieftain) of Kottarakkara, who wrote the first
play intended for Kathakali performance. They form a cycle of eight stories
based on Ramayana. The performance for each story was designed to last for
six to eight hours. The performed stories were then known as Ramanattom
(play pertaining to Rama), which later came to be called as Kathakali.
Stories based on other epics and puranas were added to its repertoire in
later period.
A vivid picture of the nature of performance of Kathakali in the past is not
known. However, it is said that in the beginning the actors themselves used
to sing the text while performing. Masks were elaborately used for some
characters and percussion was limited to a Maddalam (two headed barrel
shaped drum), a Chengila (metal gong) and Elathalam (a pair of cymbals).
Among the better known Kathakali play writes are Kottarakara Thampuran, the
author of the above mentioned Ramayana Stories; Kottayam Thampuran, who
wrote four stories based on Mahabharatha; Irayamman Thampi, who was both a
good poet and composer, accredited three stories; Unnayi Warrier, the author
of Nalacharitham (Story of King Nala); and Vayaskara Moosad who wrote one of
the popular stories -- Duryodhana Vadham.
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STRUCTURE OF PERFORMANCE |
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In olden days Kathakali performance mostly took place on a temple premises
or at the house of a local land lord. For a typical performance, a simple
temporary pandal (canopy made of thatched roof) at a height of 101/2 feet
will be erected. A minimum of 12 feet-square (144 sq. feet) is needed for
the acting area. A green room will also be located close to the stage. The
stage will be decorated with coconut leaves, bunches of areca nuts etc. The
only source of light is a big bell metal lamp placed down the center stage.
The level of the stage used to be the same as that of the ground where
people used to squat while witnessing the performance.
Kelikottu at about 6 `o clock in the evening will announce the performance
of the evening. Kelikottu is a brief passage of drumming involving Chenda (
a cylindrical drum), Maddalam, Chengila and Elathalam. The actual
performance will begin only between 9:00 - 10:00 PM. Arrangukeli will
announce the beginning of the performance. This is a passage of drumming,
which is followed by Thodayam, a piece of abstract dance at the same time
are invocatory in nature. Thodayam is performed by junior actors in the
group with simple make-up. Recitation of Vandanaslokam (Prayer Song),
followed by Purappad -- traditionally a preliminary item introducing the
main character of the story in full costume and make-up. However, now-a-days
it is mostly Krishna and Balarama who are presented, sometime with their
spouses in this introductory dance. Next is the Melappadam, which is a
musical piece where vocalists and the drummers are given opportunity to show
their skill without depending on the actors. Then the story or part of the
stories proposed are enacted which may last till dawn. The end of the
performance is marked by a piece of pure dance called Dhanasi.
Techniques
Kathakali is a dance-drama in which a high degree of stylization is seen in
the method of acting, presentation, make-up and costuming. Realism is
limited only to certain characters. The acting mode of Kathakali in its
totality can be better understood in terms of four fold scheme of historic
representation given in Natyasastra. They are:
1. Angika -- pertaining to the body and its limbs.
2. Vachika -- relating to the vocal including proper pronunciation,
modulation of voice accents and percussion.
3. Satvika -- representation of psychic condition.
4. Ahraya -- costume, make-up, stage props etc.
Angika Abhinaya: This involves the whole body of the actor and
included an elaborate scheme of facial expression, mime, gestures,
accompanied by their appropriate movements, poses and attitudes. Dance
passages known as Kalasams have an important role to play in Kathakali.
While sustaining as a pure dance, it is also meant to enhance the
appropriate bhavas. Hand gestures is another integral part of Angika since
the interpretation of the text is mainly conveyed through this. Hastalakshna
Deepika is the regional text on the Hastas (hand gestures) mainly used in
Kathakali.
Vachika Abhinaya: One of the distinguishing characteristic of
Kathakali is that the actors do not speak. Vachika (drama text in the form
of verses and songs) are recited and sung by vocalists. These songs are
explained and interpreted in details by actors through an elaborate method
of angikabhinaya which consists of highly codified gestures, facial
expression, and body movements. The vocal music in Kathakali although based
on the Karnatic (South Indian) system has developed a distinct regional
style called Sopanasangeetham. Its main aim is the evocation of the
appropriate, dramatic mood and sentiments.
Satvika Abhinaya: A highly stylized technique in the invocation of
bhava has been developed in Kathakali. This is called Rasabhinava. Indian
dramatic theory explain 9 kinds of basic sentiments, Rasa with a
corresponding sthayi bhava (emotional stayi mood). |
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