K.L Paulinte 50 Kadhakal

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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] The makeup follows an accepted code, that helps the audience easily identify the archetypal characters such as gods, goddesses, demons, demonesses, saints, animals and characters of a story. [38] Seven basic makeup types are used in Kathakali, namely Pachcha (green), Pazhuppu (ripe), Kathi, Kari, Thaadi, Minukku and Teppu (red). [38] These vary with the styles and the predominant colours made from rice paste and vegetable colors that are applied on the face. [10] [39] Pachcha (green) with lips painted brilliant coral red portrays noble characters and sages such as Krishna, Vishnu, Rama, Yudhishthira, Arjuna, Nala and philosopher-kings. [40] Phillip B. Zarrilli (2000). Kathakali Dance-drama: Where Gods and Demons Come to Play. Routledge. p. 3. ISBN 978-0-415-13109-4. , Quote: "Like most traditional modes of storytelling and performance in India, Kathakali plays enact one or more episodes from regional versions of the pan-Indian religious epics (Ramayana and Mahabharata) and Puranas." a b James G. Lochtefeld (2002). The Illustrated Encyclopedia of Hinduism: A-M. The Rosen Publishing Group. pp.358–359. ISBN 978-0-8239-3179-8.

a b c d Constance Jones; James D. Ryan (2006). Encyclopedia of Hinduism. Infobase Publishing. p.230. ISBN 978-0-8160-7564-5. Phillip B. Zarrilli (2000). Kathakali Dance-drama: Where Gods and Demons Come to Play. Routledge. pp.xi, 3. ISBN 978-0-415-13109-4. Philip Zarrilli (1984). The Kathakali Complex: Performance & Structure. Abhinav Publications. ISBN 978-81-7017-187-4. Kapila Vatsyayan (2008). Aesthetic theories and forms in Indian tradition. Munshiram Manoharlal. ISBN 978-8187586357. OCLC 286469807. femdom കോക്കോൾഡ് കഥ ആണ്.ഇഷ്ടം ഇല്ലാത്തവർ വായിക്കരുത് ഹായ് ഞാൻ കീർത്തന.ഞാൻ കോളേജ് പിജി ചെയ്തു കൊണ്ട് ഇരിക്കുന്നു. Lkg തൊട്ട് ഞാനും ദീപക്കും ഫ്രണ്ട്‌സ് ആണ് ദീപക് Continue Reading »

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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.

Krishnanattam is the likely immediate precursor of Kathakali, states Zarrilli. [24] Krishnanattam is dance-drama art form about the life and activities of Hindu god Krishna, that developed under the sponsorship of Sri Manavedan Raja, the ruler of Calicut (1585-1658 AD). [24] The traditional legend states that Kottarakkara Thampuran (also known as Vira Kerala Varma) requested the services of a Krishnanattam troupe, but his request was denied. So Kottarakkara Thampuran created another art form based on Krishnanattam, called it Ramanattam because the early plays were based on the Hindu epic Ramayana, which over time diversified beyond Ramayana and became popular as 'Kathakali'. [24] Kathakali ( IAST: Kathakaḷi Malayalam: കഥകളി pronunciation ⓘ) is a major form of classical Indian dance. [1] It is a "story game" genre of art, but one distinguished by the elaborately colourful make-up and costumes of the traditional male actor-dancers. [2] [3] [note 1] It is native to the Malayalam-speaking southwestern region of Kerala and is almost entirely practiced and appreciated by Malayali people. [2] [3] [5] Kathakali is one of the eight classical dances of India Hanuman in Kathakali (FACT Jayadeva Varma) a b Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993). Indian Theatre: Traditions of Performance. Motilal Banarsidass. pp.95–96. ISBN 978-81-208-0981-9.

Kambi Kathakal 2015

Bruno Nettl; Ruth M. Stone, James Porter and Timothy Rice (1998). The Garland Encyclopedia of World Music: South Asia: the Indian subcontinent. Routledge. pp.331–343. ISBN 978-0-8240-4946-1. Don Quijote viaja a la India en 'Kijote Kathakali' ". El Norte de Castilla (in European Spanish). 25 July 2016 . Retrieved 20 February 2021. The gender exclusivity is one of the significant differences between Kathakalī and other classical Indian dances which either included or favored female actor-dancers. [4] The most studied version of the Natya Shastra text consists of about 6000 verses structured into 36 chapters. [12] [15] The text, states Natalia Lidova, describes the theory of Tāṇḍava dance ( Shiva), the theory of rasa, of bhāva, expression, gestures, acting techniques, basic steps, standing postures–all of which are part of Indian classical dances including Kathakali. [11] [12] [16] Dance and performance arts, states this ancient Hindu text, [17] are a form of expression of spiritual ideas, virtues and the essence of scriptures. [18] Cheris Kramarae; Dale Spender (2004). Routledge International Encyclopedia of Women: Global Women's Issues and Knowledge. Routledge. p.296. ISBN 978-1-135-96315-6.

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. Ayyappappanikkar (1997). Medieval Indian Literature: An Anthology. Sahitya Akademi. p.317. ISBN 978-81-260-0365-5.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 ]

Kathakali is still practiced in its Traditional ways and there are experimental plays based on European classics and Shakespeare's plays. Recent productions have adapted stories from other cultures and mythologies, such as those of Miguel de Cervantes, [61] Johann Wolfgang von Goethe and William Shakespeare. [8] [62] Styles: Sampradayam [ edit ]a b c d e f Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993). Indian Theatre: Traditions of Performance. Motilal Banarsidass. pp.317–318. ISBN 978-81-208-0981-9. Williams, Drid (2004). "In the Shadow of Hollywood Orientalism: Authentic East Indian Dancing" (PDF). Visual Anthropology. Routledge. 17 (1): 69–98. doi: 10.1080/08949460490274013. S2CID 29065670. Archived from the original (PDF) on 4 March 2016 . Retrieved 25 July 2016. a b Phillip B. Zarrilli (2000). Kathakali Dance-drama: Where Gods and Demons Come to Play. Routledge. pp. 25–29, 37, 49–56, 68, 88–94, 133–134. ISBN 978-0-415-13109-4. Kapila Vatsyayan (1977). Classical Indian dance in literature and the arts. Sangeet Natak Akademi. OCLC 233639306. , Table of Contents