Contents: I. Back ground: 1. The philosophy of Kathakali/D. Appukuttan Nair. 2. A three-dimensional poetic art/D. Appukuttan Nair. 3. Textual sources for performances/K. Ayyappa Paniker. 4. Patrons, Troupes, and performers/Chitra Panikkar. i. Major Kathakali institutes: 1. Kerala Kalamandalam/Olappamanna Subrahmanian Nambudirippad. 2. Margi: An art resource centre/G.S. Warrier. 3. Initiation and training/Kalamandalam Padmanabhan Nair. II. The Performance: 1. A visual representation of the structure of a typical performance. 2. An introduction to Abhinaya/Kalamandalam Ramankutty Nair. i. The visual dimension: 1. Aharyabhinaya/Kalamandalam Govinda Warrier. 2. Angikabhinaya/Kalamandalam Gopi. ii. The auditive dimension: 1. Music/Kalamandalam Gangadharan. 2. Rhythmics/Chandra Mannadiar. 3. Sattwikabhinaya/Sudha Gopalakrishnan. 4. Rasabhinaya/D. Appukuttan Nair. III. Dramatic vignettes: 1. Excerpts from performances. 2. Kalyanasougandhikam. 3. Kamaladalam. 4. Nalacharitam. 5. Tapassattom. Glossary. List of technical terms.
"Few performing art-forms are marked by the dramatic dynamics that govern Kathakali, from the culturally rich Southern Indian state of Kerala.
The dance, characterized by a unique feature - its staunch distance from worldly reality - selects to include within its scope only the most supernatural and mythological aspects concerning the lives and affairs of celestial beings, deities, demons and sages.
An elaborately defined code of body kinetics combined with beautifully eloquent hand gestures called mudras, are enhanced by stylized make-up and costumes to provide the several appropriate symbolic nuances typifying Kathakali. The artiste, besides, makes little attempt to internalize the emotions of the character he portrays. Instead, he enlivens his performance through the dimension of life-breath, or Prana, in Sattwikabhinaya and infuses soul into his performance through rasabhinaya, or emotional acting. Exaggerated and extravagant, his histrionics enunciate a powerful language all their own, creating as poetic field of expression that needs prodigious imagination on the part of the viewer to fully appreciate a performance.
This double volume comprehensively explores the interpretative medium, detailing such fascinating stage aspects as Aharya and Angikabhinaya along with an intricate pattern of music and rhythmics employed in Kathakali.
Renowned scholars and performers additionally describe the textual sources for performances, discuss reputed Kathakali institutes and outline the rigours of the disciplined training routine involved before a student makes his debut as a full-fledged dancer.
A rare insight into what is probably the most compelling art-form." (jacket)
