Kathakal

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Richard Schechner (2010). Between Theater and Anthropology. University of Pennsylvania Press. pp.17–18. ISBN 978-0-8122-0092-8. The theory and foundations of Kathakali are same as other major classical Indian dances, traceable to Sanskrit texts such as the Natya Shastra, but the expression style in each is very different and distinctive. [4] Kathakali is different from a similar-sounding Kathak, though both are Indian classical dance traditions of "story play" wherein the stories have been traditionally derived from the Hindu epics and the Puranas. Kathak is an ancient performance art that emerged in North India, with roots in traveling bards retelling mythical and spiritual stories through dance-acting. [9] [75] Kathak traditionally has included female actor-dancers, unlike Kathakali which has traditionally been performed by an all-male troupe. [3] [76] Kathak deploys much simpler costumes, makeup and no face masks. Both dance forms employ choreography, face and hand gestures traceable to the Natya Shastra, but Kathak generally moves around a straight leg and torso movements, with no martial art leaps and jumps like Kathakali. Kathak uses the stage space more, and does not typically include separate vocalists. Both deploy a host of similar traditional Indian musical instruments. [3] [77] 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.

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. 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.

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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. Natalia Lidova (1994). Drama and Ritual of Early Hinduism. Motilal Banarsidass. ISBN 978-81-208-1234-5. Kevin J. Wetmore, Jr.; Siyuan Liu; Erin B. Mee (8 May 2014). Modern Asian Theatre and Performance 1900-2000. Bloomsbury Academic. pp.196–197. ISBN 978-1-4081-7720-4. Tarla Mehta (1995). Sanskrit Play Production in Ancient India. Motilal Banarsidass. ISBN 978-81-208-1057-0.

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 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] Richard Schechner (2010). Between Theater and Anthropology. University of Pennsylvania Press. pp.213–218. ISBN 978-0-8122-0092-8.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] 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 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 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.

Kathakali is structured around plays called Attakatha (literally, "enacted story" [3]), written in Sanskritized Malayalam. [28] [30] These plays are written in a particular format that helps identify the "action" and the "dialogue" parts of the performance. [30] The Sloka part is the metrical verse, written in third person – often entirely in Sanskrit - describing the action part of the choreography. [3] [30] The Pada part contains the dialogue part. [30] These Attakatha texts grant considerable flexibility to the actors to improvise. Historically, all these plays were derived from Hindu texts such as the Ramayana, the Mahabharata and the Bhagavata Purana. [31] [32] 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] Coormaraswamy and Duggirala (1917). "The Mirror of Gesture". Harvard University Press. p.4. ; Also see chapter 36 Alice Boner (1935), "Kathakali", Journal of the Indian Society of Oriental Art, June 1935, pp 1–14. N Pani (2009), Hinduism, in Handbook of Economics and Ethics (Editors: Jan Peil and Irene Staveren), Edward Elgar, ISBN 978-1-84542-936-2, 216-221a b c Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993). Indian Theatre: Traditions of Performance. Motilal Banarsidass. pp.320–321. ISBN 978-81-208-0981-9. a 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.