Kathakali is a highly stylized classical dance drama featuring the exquisite composition of its characters, exquisite costumes, detailed gestures and clear body movements, consistent with anchor music and accompaniment percussion. It originated in Kerala in the 16th century AD, between 1555 and 1605. Kathakali has experienced rapid updates and improvements over the years.
The basic privilege of a successful Kathakali performer is his concentration and stamina. Based on the well-trained training of Kerala's ancient martial arts Kalaripayattu, the necessary endurance for a rigorous performance throughout the night can be obtained. This training is ready for the actors' requirements. Training can usually last 8 to 10 years and is intensive. The intense Kalaripayattu training also subconsciously influenced the body language of Kathakali characters.
etymology:
The name Kathakali is derived from the Malayalam words "katha" [story] and "kali" [meaning: drama or performance].
History Introduction:
According to legend, Kathakali originated from a form of precursor dance called Ramanattam and attributed many of its performances to Krishnanattam. In short, these two forms of travel to Kathakali involve the story of the Hindu gods Rama and Krishna [both are Hindu trinity - the expression of the earth in the preserver of Vishnu].
Legend has it that Kottarakkara Thampuran [1555-1605] [the ruler of Kottarakkara province in southern Kerala] created most of the drama based on Ramayana, which eventually led to the evolution of Kathakali. Although Ramanattam has become extinct as an art form, its story is still part of Kathakali.
Kathakali is the result of a successful merger of various art forms. It is similar to Krishnanattam, Koodiyattam [Sanskrit drama performance in Kerala] and Ashtapadiyattam [adapted from the 12th century musical Gitagovindam]. It also incorporates several elements of other traditional ritual art forms, such as Mudiyettu, Thiyyattu, Theyyam and Padayani, as well as a small part of folk art such as Porattunatakam.
Kathakali songs are presented in Manipravalam - this is a mix of classical language Sanskrit and local language Malayalam. Although most of the songs are based on fine-tuned Carnatic music and are set in Lago, there is a unique simple note style, the Sopanam style. This typical Kerala-style interpretation is derived from the temple songs that Kathakali was sung at the time of his birth [now still in several temples].
Kathakali's characters appear on his face, and his face is beautifully dressed. The choreographer is very advanced [mainly Kaplingad Narayanan Namboodiri - 1739-1789], mainly about the story of the Indian epic. Although Kathakali has traditionally been carried out in temples and palaces, it has also found space on the stage of harvested rice fields and public halls/audio halls for the past century. Kathakali is a visual enjoyment, and its green painting performance has become synonymous with Kerala's elevated culture.
The outstanding features of Kathakali:
Kathakali consists of five classical art elements:
Expression [Natyam, a component that emphasizes facial expressions]
from
Dance [Nritham, part of the dance, emphasizes rhythm and movement of hands, legs and body]
from
Formulated [Nrithyam, the element of drama, emphasizing "mudras", this is a gesture]
from
Song / Vocal Accompaniment [Geetha]
from
Instrumental accompaniment [Vadyam]
from
Kathakali played
from
There are 101 classic Kathakali stories traditionally. The most common story may be around 30-40. In those days when entertainment media was extremely limited, the Kathakali show meant lasting nights. We can say that this may have caused the repercussions of contemporary rock concerts.
performance
Kathakali is carried out in its purest form before the huge Kalivilakku [kali means dance or performance and vilakku meaning lamp]. A thick wick burning with coconut oil illuminates the lamp. This lamp is the only source of illumination when the drama used to be carried out in the temples, palaces or residences of nobles and nobles. This helps create a sense of awe and mystery and helps the performer exaggerate his role. It may be one of the first effective uses of lighting to highlight characters and create a spectacle.
Kathakali is made with music [geetha] and musical instruments [vadyam]. The percussion instruments used were Chenda, Maddhalam and Edakka. The lead singer is called "Ponnani" and his followers are called "Shingidi". The lead singer uses "Changala" [a cymbal made of bell-shaped metal that can be tapped with a wooden stick] to direct the Vadyam and Geetha components, just like the wand in Western classical music, and Shingidi uses "Elathalam". Cy钹] adds variations to music. Most music is traditionally composed of up to 14 people. But usually the song consists of more than 20 people.
The distinguishing feature of Kathakali is that the performer never speaks, but uses gestures, expressions and rhythm to dance rather than talk [but for some rare characters]. The story is entirely made up of hand movements [called handprints or gestures] as well as facial expressions [rasas] and body movements. These expressions come from Natya Shastra [which deals with the big part of expression science] and are classified into nine in most Indian classical art forms. Dancers also receive special exercises to learn to control their eye movements.
Kathakali's performance revolves around 24 basic handprints - their arrangement and combination will join today's popular gestures. Each can be broken down again into 'Samaana-mudras' [a mudra symbolizes two entities] or "Misra-mudras" [both hands are used to display these handprints]. A handprint is a sign language used to tell a story.
The main facial expression of Kathakali's artist is 'Navarasams' [nine tastes or expressions]. Navarasams are: Sringaram [amour], Hasyam [Mocking, Humor], Bhayanakam [Fear], Karunam [Sad], Roudram [Anger, Anger], Veeram [Warrior], Beebhatsam [Aversion], Adbhutam [Miracle, Surprise], Shantam [quiet, peaceful].
Kathakali has a well-designed makeup code. Makeup can be divided into five basic combinations, namely Pachcha, Kathi, Kari, Thaadi and Minukku. The difference between these groups is the primary color applied to the face. Pachcha [meaning green] is a green color that is used to depict noble male characters and is said to be a mixture of "Satvik" and "Rajasik" [Royal]. Rajasik characters have evil stripes ["tamasic" = evil] - they are all anti-heroes in the drama [such as the Ravana] - and they depict red stripes on the green face. Excessive evil characters such as demons [completely tamasic] are mainly red makeup and red beards. They are called Chuvanna Thaadi [red beard]. Tamasic characters, such as uncivilized hunters and foresters, are mainly black makeup bases and black beards, known as Kari / Karutha Thaadi [meaning black beard]. Women and ascetic have a shiny, yellow face, and this semi-realistic category constitutes the fifth category. In addition, there are five basic combinations of modifications, such as Vella Thadi [White Beard] used to depict Hanuman [Monkey] and Pazhuppu, mainly for Shiva and Balabhadra.
Minukku
Minukku is a delicate facial makeup that includes a mixture of yellow and red pigments to smooth the face of the actor. The composition acquires an "self" [or natural skin] complexion. It reflects the common roles of Brahman, Ascetics and Virtuous women. Eyes and eyelashes are painted in color, contoured with black ointment and oily collyrium elongated. Sometimes, the face is decorated with white or cream dots, which are bowed from the cheek to the front. The lips are red and the forehead is decorated with caste markers. This color scheme can bring symbolic piety to the role of the devotee. The type of female character gives a delicate make-up.
Pachcha
Pachcha painted a dark green face. The prescribed role is God, the famous mythical hero and the kind character, symbolizing the inner delicate balance, heroism and moral excellence. This includes drama heroes and noble characters, Indra, Krishna, Rama, Lakshmana, Bharata, Sathrugnan, Harishchandra and Nala. The front of their face has a smooth dark green base, and the chuttis [white rice paste curve] covers the lower jaw from the center of the chin to the sides of the face. Eyes and eyelashes are painted black and lips are bright red. It presents the shape of a wide blade or bow curve. The forehead above the painted portion of the bow shape is covered by a red strip of gold-plated head gear.
Katie
Compared to Pachcha, the composition of the Katti character type is complex. This term literally means a knife because in its construction the shape of the color is similar to a sharply curved dagger. They represent evil, demons and fierce characters, standing in front of the heroes of the drama. The ambitious and arrogant Pratanayakaas like Asuras [God's Enemy] are treated uniquely by this make-up. Their faces have a green foundation; their sides are painted red on both sides. The red paint around the nose rises to the forehead above the eyebrows. It's like a patch, an upturned moustache, covered with a captain....
Orignal From: Kathakali - Spectacular sights of Kerala
No comments:
Post a Comment