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] Janelle G. Reinelt; Joseph R. Roach (2007). Critical Theory and Performance. University of Michigan Press. pp.110–111. ISBN 978-0-472-06886-9. 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] Ayyappappanikkar (1997). Medieval Indian Literature: An Anthology. Sahitya Akademi. p.317. ISBN 978-81-260-0365-5.

Don Quijote viaja a la India en 'Kijote Kathakali' ". El Norte de Castilla (in European Spanish). 25 July 2016 . Retrieved 20 February 2021. 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 ] 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] Richard Schechner (2010). Between Theater and Anthropology. University of Pennsylvania Press. pp.100–102. ISBN 978-0-8122-0092-8.

Wichmann, Elizabeth (1990). "Tradition and Innovation in Contemporary Beijing Opera Performance". TDR. MIT Press. 34 (1): 146–178. doi: 10.2307/1146013. JSTOR 1146013. Williams 2004, pp.83–84, the other nine are: Bharatanatyam, Kathak, Kuchipudi, Odissi, Manipuri, Cchau, Satriya, Yaksagana and Bhagavata Mela. 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.

Alice Boner (1935), "Kathakali", Journal of the Indian Society of Oriental Art, June 1935, pp 1–14. The Japanese performance arts Kabuki/ Noh and Chinese performance art Peking Opera are similar in many ways to Kathakali. 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. 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 Richard Schechner (2010). Between Theater and Anthropology. University of Pennsylvania Press. pp.17–18. ISBN 978-0-8122-0092-8.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 Tarla Mehta (1995). Sanskrit Play Production in Ancient India. Motilal Banarsidass. ISBN 978-81-208-1057-0. Kapila Vatsyayan (2008). Aesthetic theories and forms in Indian tradition. Munshiram Manoharlal. ISBN 978-8187586357. OCLC 286469807.

femdom കോക്കോൾഡ് കഥ ആണ്.ഇഷ്ടം ഇല്ലാത്തവർ വായിക്കരുത് ഹായ് ഞാൻ കീർത്തന.ഞാൻ കോളേജ് പിജി ചെയ്തു കൊണ്ട് ഇരിക്കുന്നു. Lkg തൊട്ട് ഞാനും ദീപക്കും ഫ്രണ്ട്‌സ് ആണ് ദീപക് Continue Reading » Emigh, John; Zarrilli, Phillip (1986). "Beyond the Kathakalī Mystique". The Drama Review. MIT Press. 30 (2): 172–175. doi: 10.2307/1145740. JSTOR 1145740. Richard Schechner (2010). Between Theater and Anthropology. University of Pennsylvania Press. pp.213–218. ISBN 978-0-8122-0092-8. Ewan Fernie (2005). Reconceiving the Renaissance: A Critical Reader. Oxford University Press. p.191. ISBN 978-0-19-926557-2.

Total Pageviews

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. Kabuki, another Japanese art form, has similarities to Kathakali. [82] [83] Jīngjù, a Chinese art of dance-acting ( zuo), like Kathakali presents artists with elaborate masks, costumes and colorfully painted faces. [84] [85] Balinese dance also shares similarities. Emmie Te Nijenhuis (1974). Indian Music: History and Structure. BRILL Academic. ISBN 90-04-03978-3. Leela Venkataraman (2015). Indian Classical Dance: The Renaissance and Beyond. Niyogi Books. ISBN 9789383098644.