Koodiyattam

Kutiyattam ( Malayalam: കൂടിയാട്ടം ) is a traditional form of theater in Kerala, India. It is - with a detectable history of 1000 years - maybe even the oldest Indian theater form.

Traditionally, the pieces of the actors from the box Chakyar and Nannyar were played in Hindu temples. The late Guru Mani Madhava Chakyar is one of the most famous personalities of the Kutiyattam Theatre. The performances of his troupe on secular platforms have made ​​available Kutiyattam a wider public. He also happens to choreographies of dramas Abhijnanashakuntala, Vikramorvashiya and Malavikagnimitra of Kalidasa on the stage.

Performance practice

Traditionally, Kutiyattam is in a Kuttampalam, a temple theater listed. Characteristic of this form of theater the use of costumes, heavy makeup, as well as a large repertoire of stylized gestures and facial expressions, as well as a dialogue reproduction, the similarity with Vedic chanting are having. The texts are recited in different pitches and explained with facial expressions and gestures, as well as with the music, especially the drum idakka, the copper kettle mizhavu, accompanied cymbals ( kuzhitalam ) and the conch Shanku.

There are no sets and only a metal lamp as a single light source. Furthermore Kutiyattam ideas have an amazing, time length, due mainly before through rituals and after the performance, as well as the repetition of individual passages of dialogue, the performance of a complete piece can take months, so only single file of a piece are listed (duration: 5 - 10 days). Performance day per individual verses are merely recited. The actors may embellish these however, by writing their own, based on the piece of texts called Attaprakaram.

Treat the pieces both religious and secular (eg, love stories, political intrigue, ...) issues. The actions are mostly known to the public preserves, which is why the focus of Kuttiyatam is not in telling a story, but in the audio-visual presentation.

The actors here are not always in one but in several roles to see ( the change of the characters is " pakarnnattam " called ). By changing the details of their costumes, they can switch between roles.

Actor and musician

At one Kutiyattam performance three different groups are involved:

• Cākyār: They are the male actors.
• Naṅṅyār: The female actresses, which take over the female roles and the musical pieces, with small cymbals support.
• Nampyār: You are the musicians that the during the performance consistently prominent, copper drum mizhavu ( miḻāvu ) play.

Special role of Vidushaka

The role of Vidushakas ( " the fool "), which is usually taken only of the older and more experienced Cakyar, differs from the established roles of the performances, this eventually allowed to improvise and has the right to everything and everyone (even priests of the temple ) to criticize. While the other actors speak in Sanskrit or Prakrit, saith the Vidushaka in the regional language and also does not use the method used by the other actors, gestures. To a position between the piece and the audience He thus: he is both a figure of action (usually a cronies of the protagonist ), the plot must also comment on the other hand, even parody. He also translated the dialogues of the protagonists in the local language and therefore acts as a liaison between the viewers and the piece.

History

It is believed that a preform of Kutiyattam has its roots in Buddhism. Buddhist settlers in Kerala plays probably used for religious propaganda purposes. These dramatic practices were adopted much later by representatives of Brahmanism and also served as a means for satirical, and intellectual attacks on Buddhism, later were religious, the performance framing (but the actual, original conventions of the theater form nothing changed ), rituals part of Kutiyattam. This happened probably in the 13th or 14th century, the first temple theater were built in the 15th century. Therefore, the origin of Kutiyattam lies in the profane and not in religion.

1949 there was an appearance of Painkulam Rama Chakyar, the first time a Kutiyattam performance outside a temple theater. From 1965 Kuttiyatam was also people outside the caste actor taught. 2001 Kutiyattam was included in the UNESCO list of Masterpieces of the Oral and Intangible Heritage of Humanity.

Pieces and authors

These are some authors whose plays some acts for Kudiyattam are still used today:

• Bhasa: Bhasa was one of the most important writers of ancient India. He probably lived in the 2nd or 3rd century BC. Are attributed to him 13 pieces. These are mostly pieces with a political background.
• Saktibhadra: Saktibhadra wrote with Ascharyachudamani one of the most popular and most used of Kutiyattam cast pieces (about the 8th century AD).
• Kulasekhara: Kulasekhara was a ruler of the Chera - Dynasty (which ruled parts of Kerala ) in the 10th century. From it is believed that he helped the Kudiyattam to its present dramatic form.

Ritual and theater

Before the performance, there are rituals for the actors. So this dip their ring finger in ghee and then touch their forehead, nose and chin and tie a red cloth around his head. Finally they wear on her make -up. This is often described as a border crossing where the actors from the profane to enter the religious world. However, no complete identification of the actor with the figures shown instead ( while there are quite rituals are performances, in which believed that the actor transforms into the represented deity ). This disproves especially changing the role during the performance ( pakarnnattam ). Despite the existing connection with the religious Kutiyattam is not to be regarded as a ritual per se ( it is often referred to as " visual victim "). Finally, it is between. Garter rituals, which are not coupled to other activities and which, however, do rituals that are associated with other practices, such as, for example, just Kutiyattam from the practices no independent rituals