Kathakal

Product Information

Don Quijote viaja a la India en 'Kijote Kathakali' ". El Norte de Castilla (in European Spanish). 25 July 2016 . Retrieved 20 February 2021.

Tarla Mehta (1995). Sanskrit Play Production in Ancient India. Motilal Banarsidass. ISBN 978-81-208-1057-0. a b c d e f Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993). Indian Theatre: Traditions of Performance. Motilal Banarsidass. pp.317–318. ISBN 978-81-208-0981-9. 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 term Kathakali is derived from katha ( Malayalam: കഥ, from Sanskrit) which means "story or a conversation, or a traditional tale", and kaḷi ( Malayalam: കളി) which means "performance" or "play". The dance symbolises the eternal fight between good and evil. [9] [10] History [ edit ]

The traditional plays were long, many written to be performed all night, some such as those based on the Ramayana and the Mahabharata written to be performed for many sequential nights. However, others such as the Prahlada Charitham have been composed so that they can be performed within four hours. [59] Modern productions have extracted parts of these legendary plays, to be typically performed within 3 to 4 hours. [60] Offshoots and modern adaptations [ edit ] Martin Banham (1995). The Cambridge Guide to Theatre. Cambridge University Press. pp. 522–525. ISBN 978-0-521-43437-9. 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

Bruno Nettl; Ruth M. Stone, James Porter and Timothy Rice (1998). The Garland Encyclopedia of World Music: South Asia: the Indian subcontinent. Routledge. pp.331–343. ISBN 978-0-8240-4946-1. Wichmann, Elizabeth (1990). "Tradition and Innovation in Contemporary Beijing Opera Performance". TDR. MIT Press. 34 (1): 146–178. doi: 10.2307/1146013. JSTOR 1146013. Emigh, John; Zarrilli, Phillip (1986). "Beyond the Kathakalī Mystique". The Drama Review. MIT Press. 30 (2): 172–175. doi: 10.2307/1145740. JSTOR 1145740. Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993). Indian Theatre: Traditions of Performance. Motilal Banarsidass. p.327. ISBN 978-81-208-0981-9. 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.

Cheris Kramarae; Dale Spender (2004). Routledge International Encyclopedia of Women: Global Women's Issues and Knowledge. Routledge. p.296. ISBN 978-1-135-96315-6.

Blog Archive

a b c d e f g h i j k l m Peter J. Claus; Sarah Diamond; Margaret Ann Mills (2003). South Asian Folklore: An Encyclopedia. Routledge. pp.332–333. ISBN 978-0-415-93919-5. Richard Schechner (2010). Between Theater and Anthropology. University of Pennsylvania Press. pp.100–102. ISBN 978-0-8122-0092-8. Phillip B. Zarrilli (2000). Kathakali Dance-drama: Where Gods and Demons Come to Play. Routledge. pp.xi, 3. ISBN 978-0-415-13109-4. 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] 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