Despite the links, Kathakali is different from temple-driven arts such as "Krishnanattam", Kutiyattam and others because unlike the older arts where the dancer-actor also had to be the vocal artist, Kathakali separated these roles allowing the dancer-actor to excel in and focus on choreography while the vocal artists focused on delivering their lines. [24] Kathakali also expanded the performance repertoire, style and standardized the costume making it easier for the audience to understand the various performances and new plays. [24] Repertoire [ edit ] 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 ]

According to Farley Richmond and other scholars, Kathakali shares many elements such as costumes with ancient Indian performance arts such as Kutiyattam (classical Sanskrit drama) and medieval era Krishnanattam, even though a detailed examination shows differences. [21] Kutiyattam, adds Richmond, is "one of the oldest continuously performed theatre forms in India, and it may well be the oldest surviving art form of the ancient world". [22] Kutiyattam, traditionally, was performed in theatres specially designed and attached to Hindu temples, particularly dedicated to the Shiva and later to Krishna. [23] The designs of these theatres usually matched the dimensions and architecture recommended as "ideal" in the ancient Natya Shastra, and some of them could house 500 viewers. [23] Yellow is the code for monks, mendicants, and women. Minukka (radiant, shining) with a warm yellow, orange or saffron typifies noble, virtuous feminine characters such as Sita, Panchali and Mohini. [42] Men who act the roles of women also add a false top knot to their left and decorate it in a style common to the region. [42] Vella Thadi (white beard) represents a divine being, someone with virtuous inner state and consciousness such as Hanuman. [41] Teppu is for special characters found in Hindu mythologies, such as Garuda, Jatayu and Hamsa who act as messengers or carriers, but do not fit the other categories. [42] Face masks and headgear is added to accentuate the inner nature of the characters. The garments colours have a similar community accepted code of silent communication. [43] Minukka, the feminine characterThe Kidangoor style is one of the two, that developed in Travancore, and it is strongly influenced by Kutiyattam, while also drawing elements of Ramanattam and Kalladikkotan. [65] It is traditionally attributed to Nalanunni, under the patronage of Utram Tirunal Maharaja (1815-1861). [65] The Kalluvazhi style is second of the two, which developed in Palakkad ( Olappamanna Mana) in central Kerala, [66] and it is a synthesis of the older Kaplingadan and Kalladikkotan performance arts. [63] [64] It is traditionally attributed to Unniri Panikkar, in a Brahmin household (~1850), and became the dominant style established in Kerala Kalamandalam – a school of performance arts. [63] Training centres and awards [ edit ] Kerala Kalamandalam is a major centre for Kathakali studies. The traditional themes of the Kathakali are folk stories, religious legends and spiritual ideas from the Hindu epics and the Puranas. [7] The vocal performance has traditionally been performed in Sanskritised Malayalam. [6] In modern compositions, Indian Kathakali troupes have included women artistes, [4] and adapted Western stories and plays such as those by Shakespeare. [8] Etymology and nomenclature [ edit ] Janelle G. Reinelt; Joseph R. Roach (2007). Critical Theory and Performance. University of Michigan Press. pp.110–111. ISBN 978-0-472-06886-9. a b Daugherty, Diane (2005). "The Pendulum of Intercultural Performance: Kathakalī King Lear at Shakespeare's Globe". Asian Theatre Journal. Johns Hopkins University Press. 22 (1): 52–72. doi: 10.1353/atj.2005.0004. S2CID 161340863.

Emigh, John; Zarrilli, Phillip (1986). "Beyond the Kathakalī Mystique". The Drama Review. MIT Press. 30 (2): 172–175. doi: 10.2307/1145740. JSTOR 1145740. a b c d e f g h i j k l m Peter J. Claus; Sarah Diamond; Margaret Ann Mills (2003). South Asian Folklore: An Encyclopedia. Routledge. pp.332–333. ISBN 978-0-415-93919-5. D. Appukuttan Nair, Ayyappa K. Paniker (1993), Kathakali: The Art of the Non-Worldly, Marg Publications, ISBN 978-81-85026-22-0 Natalia Lidova (1994). Drama and Ritual of Early Hinduism. Motilal Banarsidass. ISBN 978-81-208-1234-5. Kapila Vatsyayan (1977). Classical Indian dance in literature and the arts. Sangeet Natak Akademi. OCLC 233639306. , Table of ContentsKerala has five other significant theatre traditions - Kutiyattam, and its allied forms Nangiarkoothu, Chakyarkoothu, Krishnanattam and Mohiniyattam Richard Schechner (2010). Between Theater and Anthropology. University of Pennsylvania Press. pp.100–102. ISBN 978-0-8122-0092-8. a b c d e James G. Lochtefeld (2002). The Illustrated Encyclopedia of Hinduism: A-M. The Rosen Publishing Group. p.359. ISBN 978-0-8239-3179-8.

Wichmann, Elizabeth (1990). "Tradition and Innovation in Contemporary Beijing Opera Performance". TDR. MIT Press. 34 (1): 146–178. doi: 10.2307/1146013. JSTOR 1146013. Richard Schechner; Willa Appel (25 May 1990). By Means of Performance: Intercultural Studies of Theatre and Ritual. Cambridge University Press. pp.131–132, 142–143. ISBN 978-1-316-58330-2. A tradition Kathakali play typically consists of two interconnected parts, the third-person Shlokas and first-person Padams. The Shlokas are in Sanskrit and describe the action in the scene, while Padams are dialogues in Malayalam (Sanskritized) for the actors to interpret and play. [3] A Padam consists of three parts: a Pallavi (refrain), Anupallavi (subrefrain) and Charanam (foot), all of which are set to one of the ancient Ragas ( musical mode), based on the mood and context as outlined in ancient Sanskrit texts such as the Natya Shastra. [3] [58] In historic practice of a play performance, each Padam was enacted twice by the actor while the vocalists sang the lines repeatedly as the actor-dancer played his role out. [58] Several ancient Sanskrit texts such as Natya Shastra and Hastha Lakshanadeepika discuss hand gestures or mudras. Kathakali follows the Hastha Lakshanadeepika most closely, unlike other classical dances of India. [3] [5]Emmie Te Nijenhuis (1974). Indian Music: History and Structure. BRILL Academic. ISBN 90-04-03978-3.