Richard Schechner (2010). Between Theater and Anthropology. University of Pennsylvania Press. pp.100–102. ISBN 978-0-8122-0092-8. 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 ] Natalia Lidova (1994). Drama and Ritual of Early Hinduism. Motilal Banarsidass. ISBN 978-81-208-1234-5.

Leela Venkataraman (2015). Indian Classical Dance: The Renaissance and Beyond. Niyogi Books. ISBN 9789383098644.D. Appukuttan Nair, Ayyappa K. Paniker (1993), Kathakali: The Art of the Non-Worldly, Marg Publications, ISBN 978-81-85026-22-0 Kapila Vatsyayan (2008). Aesthetic theories and forms in Indian tradition. Munshiram Manoharlal. ISBN 978-8187586357. OCLC 286469807. 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. 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 Constance Jones; James D. Ryan (2006). Encyclopedia of Hinduism. Infobase Publishing. p.230. ISBN 978-0-8160-7564-5. 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. The character types, states Zarrilli, reflect the Guṇa theory of personalities in the ancient Samkhya school of Hindu philosophy. [44] There are three Guṇas, according to this philosophy, that have always been and continue to be present in all things and beings in the world. [45] These three Guṇas are sattva (goodness, constructive, harmonious, virtuous), rajas (passion, aimless action, dynamic, egoistic), and tamas (darkness, destructive, chaotic, viciousness). All of these three gunas (good, evil, active) are present in everyone and everything, it is the proportion that is different, according to the Hindu worldview. [45] [46] [47] The interplay of these gunas defines the character of someone or something, [45] and the costumes and face colouring in Kathakali often combines the various colour codes to give complexity and depth to the actor-dancers. [44] [48] Part of a series on 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.

Kambi Kathakal 2015

Richard Schechner (2004). Performance Theory. Routledge. pp.376 footnote 11. ISBN 978-1-134-37943-9. Kathakali has lineages or distinctive schools of play interpretation and dance performance called Sampradayam. These developed in part because of the gurukula system of transmission from one generation to the next. [63] By the 19th-century, many such styles were in vogue in Kerala, of which two major styles have crystallized and survived into the modern age. [63] [64] 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. Nari Shakti Awardees - Tripunithura Kathakali Kendram Ladies Troupe, Kerela | Ministry of Women & Child Development". wcd.nic.in . Retrieved 20 February 2021. 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.

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. Wichmann, Elizabeth (1990). "Tradition and Innovation in Contemporary Beijing Opera Performance". TDR. MIT Press. 34 (1): 146–178. doi: 10.2307/1146013. JSTOR 1146013. 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. Ananda Lal (2004). The Oxford Companion to Indian Theatre. Oxford University Press. p.245. ISBN 978-0-19-564446-3. Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993). Indian Theatre: Traditions of Performance. Motilal Banarsidass. p.100. ISBN 978-81-208-0981-9.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)