Kathakal

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Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993). Indian Theatre: Traditions of Performance. Motilal Banarsidass. p.100. ISBN 978-81-208-0981-9. Richard Schechner (2010). Between Theater and Anthropology. University of Pennsylvania Press. pp.100–102. ISBN 978-0-8122-0092-8. Richard Schechner (2004). Performance Theory. Routledge. pp.376 footnote 11. ISBN 978-1-134-37943-9.

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.Phillip Zarrilli (2000), Kathakali Dance-Drama: Where Gods and Demons Come to Play, Taylor & Francis, ISBN 978-0-203-19766-0 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. [38] Seven basic makeup types are used in Kathakali, namely Pachcha (green), Pazhuppu (ripe), Kathi, Kari, Thaadi, Minukku and Teppu (red). [38] These vary with the styles and the predominant colours made from rice paste and vegetable colors that are applied on the face. [10] [39] Pachcha (green) with lips painted brilliant coral red portrays noble characters and sages such as Krishna, Vishnu, Rama, Yudhishthira, Arjuna, Nala and philosopher-kings. [40] 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.

Of all classical Indian dances, Kathakali has the most elaborate costuming consisting of head dresses, face masks and vividly painted faces. [10] [34] [35] It typically takes several evening hours to prepare a Kathakali troupe to get ready for a play. [36] [37] Costumes have made Kathakali's popularity extend beyond adults, with children absorbed by the colors, makeup, lights and sounds of the performances. [24] 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. Several ancient Sanskrit texts such as Natya Shastra and Hastha Lakshanadeepika discuss hand gestures or mudras. Kathakali follows the Hastha Lakshanadeepika most closely, unlike other classical dances of India. [3] [5] a b c d e James G. Lochtefeld (2002). The Illustrated Encyclopedia of Hinduism: A-M. The Rosen Publishing Group. p.359. ISBN 978-0-8239-3179-8. A tradition Kathakali play typically consists of two interconnected parts, the third-person Shlokas and first-person Padams. The Shlokas are in Sanskrit and describe the action in the scene, while Padams are dialogues in Malayalam (Sanskritized) for the actors to interpret and play. [3] A Padam consists of three parts: a Pallavi (refrain), Anupallavi (subrefrain) and Charanam (foot), all of which are set to one of the ancient Ragas ( musical mode), based on the mood and context as outlined in ancient Sanskrit texts such as the Natya Shastra. [3] [58] In historic practice of a play performance, each Padam was enacted twice by the actor while the vocalists sang the lines repeatedly as the actor-dancer played his role out. [58]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] Ayyappappanikkar (1997). Medieval Indian Literature: An Anthology. Sahitya Akademi. p.317. ISBN 978-81-260-0365-5. 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. The Japanese performance arts Kabuki/ Noh and Chinese performance art Peking Opera are similar in many ways to Kathakali. Emmie Te Nijenhuis (1974). Indian Music: History and Structure. BRILL Academic. ISBN 90-04-03978-3.

K.K. Gopalakrishnan (2016). Kathakali Dance-Theatre: A Visual Narrative of Sacred Indian Mime. Niyogi Books. ISBN 9789385285011. 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] Nambudiri, Haripriya (20 July 2017). "The woman's role in Kathakali". The Hindu. ISSN 0971-751X . Retrieved 30 January 2020.

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. [70] A typical course work in Kathakali emphasizes physical conditioning and daily exercises, [71] yoga and body massage to tone the muscles and sculpt the growing body, [72] along with studies and dance practice. [70] Per ancient Indian tradition, young students continue to start their year by giving symbolic gifts to the guru, such as a few coins with betel leaves, while the teacher gives the student a loincloth, a welcome and blessings. [70] Phillip B. Zarrilli (2000). Kathakali Dance-drama: Where Gods and Demons Come to Play. Routledge. pp.xi, 3. ISBN 978-0-415-13109-4.