K.L Paulinte 50 Kadhakal

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Kathakali has lineages or distinctive schools of play interpretation and dance performance called Sampradayam. These developed in part because of the gurukula system of transmission from one generation to the next. [63] By the 19th-century, many such styles were in vogue in Kerala, of which two major styles have crystallized and survived into the modern age. [63] [64] a b c Phillip B. Zarrilli (2000). Kathakali Dance-drama: Where Gods and Demons Come to Play. Routledge. pp.xi, 17–19. ISBN 978-0-415-13109-4. 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.

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 Tarla Mehta (1995). Sanskrit Play Production in Ancient India. Motilal Banarsidass. ISBN 978-81-208-1057-0. Elizabeth Wichmann (1991). Listening to Theatre: The Aural Dimension of Beijing Opera. University of Hawaii Press. pp.1–5. ISBN 978-0-8248-1221-8. Don Quijote viaja a la India en 'Kijote Kathakali' ". El Norte de Castilla (in European Spanish). 25 July 2016 . Retrieved 20 February 2021.

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

The expressive part of the performance, which constitutes the dance-drama, is split into four types: Kalasham (major and most common), Iratti (special, used with battles-related Chempata rhythm), Thonkaram (similar to Iratti but different music), and Nalamiratti (used for exits or link between the chapters of the play). [51] 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 charactera b James G. Lochtefeld (2002). The Illustrated Encyclopedia of Hinduism: A-M. The Rosen Publishing Group. pp.358–359. ISBN 978-0-8239-3179-8. Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993). Indian Theatre: Traditions of Performance. Motilal Banarsidass. p.87. 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] Philip Zarrilli (1984). The Kathakali Complex: Performance & Structure. Abhinav Publications. ISBN 978-81-7017-187-4. Leela Venkataraman (2015). Indian Classical Dance: The Renaissance and Beyond. Niyogi Books. ISBN 9789383098644.