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Kathakali, the great spectacle of Kerala

Kathakali, the great spectacle of Kerala

By Sanjai Velayudhan

Introduction:

Kathakali is a highly stylized classical dance drama is characterized by its attractive makeup its characters, elaborate costumes, gestures, detailed and well defined by the movements of your body in tune with the music playing and percussion Accompanying the anchor. It originated in the state of Kerala during the 16th century, roughly between 1555 and 1605. Kathakali has been quick updation and improvements along the years.

From the basic prerogatives of a successful performer of Kathakali is its concentration skills and endurance. The resistance required to take overnight action is strictly regulated training acquired on the basis of Kalaripayattu, the ancient martial art of Kerala. This training prepares an actor for his role demanding. Training can often last for 8-10 years, and intense. The intense training has also Kalaripayattu unconsciously influenced the language Kathakali characters body.

Etymology:

The name Kathakali derives from the Malayalam words "Katha" (story) and "Kali" (meaning: the play or performance).

Brief History:

According to legend, originated from a Kathakali dance-drama precursor Ramanattam called form and owes many of its action Krishnanattam. In short, these two forms is the precursor of Kathakali present stories of the Hindu gods Rama and Krishna (both earthly manifestations of the Conservative among the Hindu trinity Vishnu).

Legend has it that (1555-1605 Kottarakkara thampuran) (governor of the province Kerala, southern Kottarakkara), comprising most of the games based on the Ramayana, which eventually led to the evolution of Kathakali. Although as a way Ramanattam art has died out, their stories continue to live as part of Kathakali.

Kathakali is the result of the successful merger of various art forms. That shares similarities with Krishnanattam, Koodiyattam (a Sanskrit drama of Kerala) and Ashtapadiyattam (an adaptation of 12th century musical called Gitagovindam). It also incorporates several elements of other traditional art forms as Mudiyettu rituals, Thiyyattu, Padayani Theyyam and besides a small part of the popular arts as Porattunatakam.

Kathakali songs are rendered in Manipravalam-which is a mixture of classical Sanskrit language and local Malayalam language. Although most of the songs that are set in ragas based microtone in Carnatic music-heavy, there is a different style of simple interpretation of the note, which is known as the Sopanam style. This typical Kerala style of delivery has its roots in the temple of the songs that were sung (continues even now in various temples) when Kathakali was born.

The characters in Kathakali shown with painted faces and elaborate costumes. The stories of the choreography is well advanced (mainly developed Kaplingad Narayanan Namboodiri - 1739-1789) and approves the majority of the Hindu epics. Though Kathakali is traditionally performed in temples and palaces, in the last century found in places where post-harvest of rice fields and proscenium stage of the public rooms and auditoriums. Kathakali is a visual delight and painted green shell has become synonymous high culture of Kerala.

Prominent features of Kathakali:

Kathakali is composed of five elements of classical art:

• Expressions (Natyam, the component with emphasis on facial expressions)
• Dance (Nritham, the component of dance with emphasis on rhythm and movement hands, legs and body)
• Enactment (Nrithyam, the element of drama, with emphasis on "mudras", which are gestures hand)
• Song / vocal accompaniment (Geetha)
• Accompanying instruments (Vadyam)

Kathakali Plays

Traditionally there are 101 classical Kathakali stories. The stories most commonly in stages between them could be around 30-40. In those days entertainment media is extremely limited, Kathakali performances were meant to last all night. We can say that may have caused the response of a contemporary rock concert.

Performance

Kathakali in its purest form takes place in front of the dance of great Kalivilakku (ie, Kali or performance and lamp vilakku meaning). The lamp was lit with a thick wick fed coconut oil. This lamp was the only source of illumination when the work was performed within temples, palaces and residences of nobles and aristocrats. This helped create a sense of awe and mystery and helped the performers exaggerate the characters he played. It is possibly one of the first effective uses of lighting to accentuate the characters and creating a show.

Kathakali was enacted to the accompaniment of music (Geetha) and tools (vadyam). Percussion instruments used are Chenda Maddhalam and Edakka. The singer is called "Ponnani" and his follower is called Shingidi. The singer uses the "Changal" (bell metal gong, which can be beaten with a stick wood) to carry out the Geetha Vadyam and components, like a conductor uses his wand in western classical music and Shingidi uses "Elathalam" (a pair of cymbals) to add a variation to the music. Most music is traditionally trained people in groups of up to 14. But usually the songs are composed with more than 20 people.

The distinguishing feature of Kathakali is that artists never talk but use of hand gestures, and rhythmic dancing instead of dialogue (but for a couple of strange characters). The story is enacted purely by the movements of the hands (called mudras or hand gestures) and facial expressions (shallow) and body movements. The expressions are derived from Natya Shastra volume (which deals with the science of speech) and are classified into nine as in most Indian classical art forms. Dancers also undergo special training sessions to learn how to control their movements the eye.

Kathakali performance revolves around 24 basic mudras - the permutation and combination of which add a great deal of hand gestures in vogue today. Each can be broken down again can be classified as "Samaan" mudras "(a symbol of two entities mudra) or" Misra "mudras" (both hands are used to show these mudras). The mudras are a form of sign language used to tell the story.

The main facial expressions of an artist Kathakali are "Navarasams" (new tastes or expressions). The Navarasams are Sringaram (amour), Hasyam (ridiculous, humor), Bhayanakam (fear) Karunam (pathos), Roudram (anger, rage), Veeram (Value), Beebhatsam (disgust), Adbhutam (surprise, surprise), Shantam (tranquility, peace).

Kathakali has an elaborate makeup of code. The composition can be classified into five basic groups, namely Pachcha, Kathi, Kari, Thaadi and Minukku. The differences between these groups found in the predominant colors are applied on the face. Pachcha (meaning green) has green as the dominant color and is used to portray noble male characters is said that have a mix of "Satvik" (pious) and "Rajasik" (actual) of nature. Rajasik characters have a streak of bad ( "tamas" = Bad) - the same as are anti-heroes in the play (as the demon king Ravana) - and portrays with red stripes on a face painted green. Excessively evil characters such as demons (totally tamasic) have a predominantly red makeup and a red beard. They are called Chuvanna Thaadi (Red Beard). Tamasic characters such as uncivilized hunters and loggers are represented predominantly black with a foundation and a black beard and is called Kari / Karutha Thaadi (ie, black beard). Women and ascetics have bright, yellowish faces this category of semi-realistic is the fifth class. There are also modifications to the five basic groups described above such as Vella Thadi (white beard) used to depict Hanuman (the monkey god) and Pazhuppu, which is majorly used for Lord Shiva and Balabhadra.

Minukku

Minukku is the variety of facial makeup polishing is to smooth the face of the actor with a layer of a mixture of yellow and red pigments. (Or obtain the composition 'auto' natural skin) color of skin. It reflects the characters normally found in the Brahmins, Ascetics and virtuous women. The eyes and lashes are painted and elongated contours with fat black ointment and eye drops. Sometimes the face is decorated with a white head or cream colored spots, ranging from the cheeks to the front in the form of an arc. The lips are red and his forehead is decorated with a mark of caste. This color system is used to give a symbolic glow of devout piety to a character. Role of women are given the kinds of delicate touches of the composition.

Pachcha

Pachcha face shows a deep green. The functions required are gods, celebrated virtuous heroes and mythological characters, interior refinement symbol of balance, heroism and moral excellence. These are the heroes of a game and noble characters, Indra, Krishna, Rama, Lakshmana, Bharata, Sathrugnan, Harishchandra and Nala. The front of the face given soft dark green base where chuttis (white rice, pasta curves) are from the center of the chin, covering the lower jaw, both sides of the face. The eyes and eyelashes are painted black and bright red lips. It takes the form of a broad leaf sword or a broad curve of an arch. From the front, above the painted bow tie-shaped portion is covered by a red ribbon train golden head.

Katti

Compared with Pachcha, the composition of the function of the types of Katti is complicated. This term literally means the knife, because in their composition forms of the positions of color resemble daggers strongly bent. They represent evil and demonic characters standing strong against the hero of a play. Pratinayakaas as Asuras (the enemies of God) Ravana ambitious and arrogant, Keechaka, Kamsa and are Dussaasana clearly dealt with this makeup. Their faces are given a green base, the sides of the nose is colored red. The red paint round the nose is raised to the front, above the eyebrows. It's like a patch, a goatee, which cover the upper jaw. Its boundary lines are covered in white. On the basis of green the rest of the face, a Chutti runs along the jaw than half of the cheek. Two white buttons, chuttippuvus called, are placed in the face. They vary in size with the degree of the fearsome appearance of some characters like Dussaasana demon Ravana and two long canine teeth that stick out (called dhamshtras) are perched on both sides of the mouth. These fall on the lower lips. Katti makeup characters are in a unique position.

Thaadi (Beard)

Those who have the Haadi t make-up again, damn good pious and evil. To differentiate from each other, three makeup thaadi are in vogue: Veluppu thaadi (white beard), Chuvanna thaadi (red beard) and Karuppu thaadi (black beard). In these makeup Chutti not planted white in the face.

Veluppu Thaadi

It consists of a white beard and a fur coat. It is a realistic makeup characters like Hanuman, the son of God Vayu, and another monkey sages and warriors. The upper half of the face, or part of the eyes and lips are treated with an ointment black. The chin in the center is decorated with a rosette of white with a red dot inside. Red paint is applied to the lower lip inferior to the chin. A thin layer of Chutti decoratively enclosing the black end - part of the face and meet the chuttinata - the hem of her dress head. Another white pattern develops on both sides of the cheeks and circling the red spots from the base of the nose painted green. On the tip of the nose and forehead oval two points are given in red.

Chuvanna Thaadi

This make-up is given to the horrible characters. The face is painted red, black, with contour lines drawn around the eyes, lips and chin. This adds to the ferocity of the characters just as well as Bali, Sugriva, Kaalakeya and Dussaasana. The eyebrows and eyelashes are elongate Chutti does not apply to Chuvanna thaadi. The face is nicknamed treated with red and black lines. Around the eyes, patch, almost a dark black square is provided to give the eyes a devilish look of a designer wrong. Black lipstick, they are given a curve hill to give the kind of role a lucid picture of a bestial character. Ranging from the upper lip, are two rows of bristles pasta throw white black patch round the eyes in relief and add the ferocity of the bright red eyes, and the delimitation of the black from the lower left part of the face is red. Chuttippuvus (white spots) on the tip of the nose and front heads are larger in size than those raised by Kathi characters. It is the most impressive of all the make-up of Kathakali.

Karuppu Thaadi

The third type of bearded characters Makeup is a beard and black coat. These characters include Kali, Kaattaalan (hunter), bandits and robber chiefs. In its makeup, The first face is covered with black ointment. The eyes are oval-shaped brackets, white edge lines, the area between two of these lines is painted red. Small white stubble adorning the edges. The lips are red. The tip of the nose has a chuttippuuvu.

Kari

This composition reveals the vile and evil characters, as Surpanakha and Simhika. Their faces are painted black and cheeks have a crescent in the middle. A couple of dhamshtras provided. Shiva in the role of Kirata (hunter) also gives this type of makeup.

A notable feature of Kathakali make-up is the redness of the whites of the eyes of all the characters through the establishment of a handful young seed puuv chunda (pubescence sollanum) crimson eyes contrast with the color scheme of the face. The practice is generally followed Minukku in Pachcha and expensive.

The face part being complete, the artist gives the finishing touches himself. Since then rises to put on the suit. The skirt is a well-starched and pressed into luxury garments. But before the skirt is put on, the actor bonds from 20 to 40 pieces of cloth around her waist brief with the help of a long cloth twisted rope in order to give the skirt of an oval shape. Then put the jacket, etc. The finishing touches are given by costume wizard costumes. The actor is lavishly decorated with garlands of beads, bracelets, etc. mirrors recessed fully decorated, the actor gives the last minute touches to her makeup, with the help recessed mirror. Their headdresses are vast and often unwieldy.

With the dramatic changes in the social life of staff, the popular versions of Kathakali are concise versions that last between three and four hours. This severely limits the scope of the performance. Most stories are presented in parts than whole Tail. Selecting a Performance is based on various criteria, like beauty chorographical, thematic relevance, or the melodramatic elements. Although Kathakali is a classical art form, which can also be appreciated by novices, all provided by the sleek look of their character, abstract movement and their synchrony with the notes of musical accompaniment and rhythmic beats. Kathakali continues to harbor folk elements of her repertoire. For better appreciation, perhaps, good to have a idea of history being enacted.

Recently, as part of efforts to further popularize this art malleable, stories from other cultures and mythologies, such as Mary Magdalene in the Bible, Homer's Iliad, and King Lear by William Shakespeare and Julius Caesar as well as Goethe's Faust, have also been adapted into scripts Kathakali and in due course.

There is too much to write about Kathakali. I think we have a clear wireframe front of us to fill the gaps driven by the desire to Read more.

© Sanjai Velayudhan

The author invites your comments-both brickbats and bouquets. Feel free to write to him at href = "mailto: sanjai.velayudhan @ gmail.com"> sanjai.velayudhan @ gmail.com.

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