A brief of Kathakali
Kathakali originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved, the first phase when it was Ramanattam, Kathakali had its cradle in Vettathunaad. Here Vettathu Thampuran, Kottayathu Thampuran and many dedicated artists like Chaathu Panicker laid foundations for what is known as Kathakali nowKathakali is considered to be a combination of five elements of fine art:
- Expressions (Natyam, the component with emphasis on facial expressions)
- Dance (Nritham, the component of dance with emphasis on rhythm and movement of hands, legs and body)
- Enactment (Nrithyam, the element of drama with emphasis on "mudras", which are hand gestures)
- Song/vocal accompaniment (Geetha)
- Instrument accompaniment (Vadyam)
Kottayathu Thampuran composed four great works -- Kirmeeravadham, Bakavadham, Nivathakavacha Kalakeyavadham and Kalyanasaugandhikam. After this the most important changes in Kathakali were brought about through the efforts of a single person namely, Kaplingad Narayanan Nambudiri (1739–1789). He was from the Northern Kerala, but after basic instructions in various faculties of the art in Vettathu Kalari he shifted to Travancore. In the capital and many other centres he found many willing to co-operate with him in bringing about the reformations.
Kathakali also shares a lot of similarities with Krishnanattam, Koodiyattam (a classical Sanskrit drama existing in Kerala) and Ashtapadiyattam (an adaptation of 12th-century musical called Gitagovindam). It also incorporates several other elements from traditional and ritualistic art forms like Mudiyettu, Thiyyattu, Theyyam and Padayani besides a minor share of folk arts like Porattunatakam. All along, the martial art of Kalarippayattu has influenced the body language of Kathakali. The use of Malayalam, the local language (albeit as a mix of Sanskrit and Malayalam, called), has also helped the literature of Kathakali sound more transparent for the average audience.
Traditionally there are 101 classical Kathakali stories, though the commonly staged among them these days total less than one-third that number. Almost all of them were initially composed to last a whole night. Nowadays, there is increasing popularity for concise, or oftener select, versions of stories so as the performance lasts not more than three to four hours from evening. Thus, many stories find stage presentation in parts rather than totality. And the selection is based on criteria like choreographical beauty, thematic relevance/popularity or their melodramatic elements. Kathakali is a classical art form, but it can be appreciated also by novices—all contributed by the elegant looks of its character, their abstract movement and its synchronisation with the musical notes and rhythmic beats. And, in any case, the folk elements too continue to exist. For better appreciation, perhaps, it is still good to have an idea of the story being enacted.
The most popular stories enacted are Nalacharitham (a story from the Mahabharata), Duryodhana Vadham (focusing on the Mahabharata war after profiling the build-up to it), Kalyanasougandhikam, (the story of Bhima going to get flowers for his wife Paanchaali), Keechakavadham (another story of Bhima and Paanchaali, but this time during their stint in disguise), Kiraatham (Arjuna and Lord Shiva's fight, from the Mahabharata), Karnashapatham (another story from the Mahabharata), Nizhalkuthu and Bhadrakaalivijayam authored by Pannisseri Nanu Pillai. Also staged frequently include stories like
Ambarisha Charitham - Ashwathy Thirunal(1756 to 1794)
Arjuna Vishada Vrittam - Vaikom Rajashekhar(1958 to --)
Baka Vadham - Kottayam Thampuran(1645 to 1716)
Bali Vadham - Kottarakkara Thampuran(1555 to 1605)
Bali Vijayam - Kalloor Nilakandan Namboodiripad(1776 to 1835)
Bana Yudham - Balakavi Rama Shastri(1775 to --)
Daksha Yagam - Irayimpan Thampi(1782 to 1856)
Duryodhana Vadham - Vayaskara Moos(1841 to 1902)
Guru Dakshina - Kurusimana Narayanan Namboodiri(1800 to --)
Harishchandra Charitham - Pettayil Raman Pillai(1841 to 1937)
Kacha Devayani - Thazhavana Govindan Asan(1800 to --)
Kalakeya Vadham - Kottayam Thampuran(1645 to 1716)
Kalyana Saugandhikam - Kottayam Thampuran(1645 to 1716)
Kamsa Vadham - Kilimanoor Ravi Varma(1735 to 1799)
Karna Shapadham - Mali Madhavan Nair(1915 to 1994)
Keechaka Vadham - Irayimpan Thampi(1782 to 1856)
Kiratham - Erattakulangara Rama Warrier(1725 to 1775)
Kirmira Vadham - Kottayam Thampuran(1645 to 1716)
Kuchela Vrittam - Muringoor Sankaran Potti(1843 to 1904)
Lavanasura Vadham - Amritha Shastri(1800 to --)
Nala Charitham 1 - Unnayi Warrier(1675 to 1775)
Nala Charitham 2 - Unnayi Warrier(1675 to 1775)
Nala Charitham 3 - Unnayi Warrier(1675 to 1775)
Nala Charitam 4 - Unnayi Warrier(1675 to 1775)
Naragasura Vadham - Karthika Thirunnal(1724 to 1798)
Nizhal Kuthu - Pannissery Nanu Pillai(1886 to 1943)
Poothna Moksham - Ashwathi Thirunal(1756 to 1794)
Prahalada Charitham - Madavoor Kelua asaan(1857 to 1888)
Rajasuyam - Karthika Thirunal(1724 to 1798)
Rukmangada Charitam - Mandavapilli Ittiraricha Menon(1745 to 1809)
Rukmini Swayamvaram - Ashwathy Thirunnal(1756 to 1794) Ravana Udbhavam - Raghava Pisharodi(1725 to 1795)
Santhana Gopalam - Mandavapilli Ittiraricha Menon(1745 to 1809)
Sita Swayamvaram - Kottarakkara Thampuran(1555 to 1605) Subhadra Haranam - Manthredathu Namboodiripad((1840 to --)
Thorana Yudham - Kottarakara Thampuran(1555 to 1605)
Uttara Swayamvaram - Irayimpan Thampi(1782 to 1856)
Recently, as part of attempts to further popularise the art, stories from other cultures and
mythologies, such as those of
Mary Magdalene from the Bible,
Homer's Iliad,
and
William Shakespeare's King Lear and
Julius Caesar
besides
Goethe's Faust
too have been adapted into Kathakali scripts and on to its stage.
To be continue
