Kathakal

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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 e Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993). Indian Theatre: Traditions of Performance. Motilal Banarsidass. pp.318–319. ISBN 978-81-208-0981-9.

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Kapila Vatsyayan (2008). Aesthetic theories and forms in Indian tradition. Munshiram Manoharlal. ISBN 978-8187586357. OCLC 286469807. Alice Boner (1935), "Kathakali", Journal of the Indian Society of Oriental Art, June 1935, pp 1–14.

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. According to tradition, there are 101 classical Kathakali stories, although fewer than a third are performed on stage now

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A Kathakali performance typically starts with artists tuning their instruments and warming up with beats, signalling to the arriving audience that the artists are getting ready and the preparations are on. The repertoire includes a series of performances. First comes the Thodayam and Purappadu performances, which are preliminary 'pure' (abstract) dances that emphasize skill and pure motion. [51] Thodayam is performed behind a curtain and without all the costumes, while Purappadu is performed without the curtain and in full costumes. [51] Tarla Mehta (1995). Sanskrit Play Production in Ancient India. Motilal Banarsidass. ISBN 978-81-208-1057-0. 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 (2010). Between Theater and Anthropology. University of Pennsylvania Press. pp.213–218. ISBN 978-0-8122-0092-8. Coormaraswamy and Duggirala (1917). "The Mirror of Gesture". Harvard University Press. p.4. ; Also see chapter 36

Ewan Fernie (2005). Reconceiving the Renaissance: A Critical Reader. Oxford University Press. p.191. ISBN 978-0-19-926557-2. Philip Zarrilli (1984). The Kathakali Complex: Performance & Structure. Abhinav Publications. ISBN 978-81-7017-187-4. 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 Over five hundred Kathakali plays ( Aattakatha) exist, most of which were written before the 20th century. [56] Of these, about four dozen are most actively performed. [57] These plays are sophisticated literary works, states Zarrilli, and only five authors have written more than two plays. [57] The late 17th century Unnayi Variyar, in his short life, produced four plays which are traditionally considered the most expressive of the Kathakali playwrights. Typically, his four plays are performed on four nights, and they relate to the mythical Hindu love story of Nala and Damayanti. [57] The Nala-Damayanti story has roots in the texts of 1st millennium BCE and is found in the Mahabharata, but the Kathakali play version develops the characters, their inner states, the emotions and their circumstances far more than the older texts. [57] a b Daugherty, Diane (2005). "The Pendulum of Intercultural Performance: Kathakalī King Lear at Shakespeare's Globe". Asian Theatre Journal. Johns Hopkins University Press. 22 (1): 52–72. doi: 10.1353/atj.2005.0004. S2CID 161340863.

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] K.K. Gopalakrishnan (2016). Kathakali Dance-Theatre: A Visual Narrative of Sacred Indian Mime. Niyogi Books. ISBN 9789385285011. 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 ] Ananda Lal (2004). The Oxford Companion to Indian Theatre. Oxford University Press. p.245. ISBN 978-0-19-564446-3. 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]