Kathakal

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Elizabeth Wichmann (1991). Listening to Theatre: The Aural Dimension of Beijing Opera. University of Hawaii Press. pp.1–5. ISBN 978-0-8248-1221-8. Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993). Indian Theatre: Traditions of Performance. Motilal Banarsidass. p.87. ISBN 978-81-208-0981-9.

a b c Phillip B. Zarrilli (2000). Kathakali Dance-drama: Where Gods and Demons Come to Play. Routledge. pp.xi, 17–19. ISBN 978-0-415-13109-4. The roots of Kathakali are unclear. Jones and Ryan state it is more than 500 years old. Kathakali emerged as a distinct genre of performance art during the 16th and 17th centuries in Kerala. [19] The roots of Kathakali, states Mahinder Singh, are more ancient and some 1500 years old. [20] Links to older performance arts: Kutiyattam and Krishnanattam [ edit ] FACT Jayadeva Varmaa b c d Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993). Indian Theatre: Traditions of Performance. Motilal Banarsidass. pp.326–328. ISBN 978-81-208-0981-9. Eric C. Rath (2004). The Ethos of Noh: Actors and Their Art. Harvard University Asia Center. pp.1–27. ISBN 978-0-674-01397-1. 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]

Wallace Dace (1963). "The Concept of "Rasa" in Sanskrit Dramatic Theory". Educational Theatre Journal. 15 (3): 249–254. doi: 10.2307/3204783. JSTOR 3204783. 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] Emmie Te Nijenhuis (1974). Indian Music: History and Structure. BRILL Academic. ISBN 90-04-03978-3.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 ] Alice Boner (1935), "Kathakali", Journal of the Indian Society of Oriental Art, June 1935, pp 1–14.