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Kathakali - An Introduction
-by Dr Akavoor Narayanan
Kathakali is the most evolved,
most sophisticated and most spectacular art form of Kerala. It
is not simply one of the classical dance forms of India as many
people think. Kathakali is actually a total theatre. Its unique
greatness lies in the harmonious blending and synchronisation
of various art forms like poetry, music, acting, dance, painting
and percussion. All these mix in the correct proportion, creating
a perfect balance and harmony. None of them has got an independent
existence on the Kathakali stage. The success of a Kathakali
presentation depends on this harmony.
The elements of this great form
are discernible in various degrees of development and in differing
assortments in the numerous types of folk plays, cult plays,
ritual art forms and other theatrical entertainments of Kerala
prevalent at the time of its origin. The mimed story play, as
everybody knows, is a very ancient pan-Indian theatrical legacy.
Evolution: Kathakali originated in the 17th century
as Ramanattam, the story of Rama composed
in eight parts written by the Raja of Kottarakkara. The text
was written in simple Malayalam in slokas and padams just as
in Jayadeva's Ashtapadi. The literary pattern still remains the
same, with the basic difference that the slokas are generally
written either in Sanskrit or Sanskritised Malayalam or Manipravalam.
The new dance-drama in the beginning
was only a mark above the folk dance-drama. But in course of
time, it evolved into the present Kathakali as a result of the
untiring efforts and extremely scrupulous experimentations of
many artists, scholars and connoisseurs over a period of centuries.
The drawbacks and deficiencies found in other art forms like
Krishnanattam and Koodiyattam were removed. The most significant
reform was the abolition of vachikabhinaya. It was taken away
from the actor and transferred to the musician behind so that
the actor can concentrate on the abhinaya wholeheartedly.
A Dance-Drama:
Many people see Kathakali
only in its outward form of its  grotesque
and bizzare make-up, loud and harsh orchestra, crude, often the
so-called unprofessional aspects of presentation and faulty music
which may often be jarring to the trained ears. They do not care
to understand the inner meaning and the symbolic significance
underlying every part of this dance-drama. Therefore Kathakali,
as we have seen above, is not merely a classical dance like Bharatanatyam,
Odissi etc. It is a perfect dance-drama - complete, complex and
classical.
The aura of other-worldliness
is maintained with meticulous care in every aspect - both in
make-up and presentation. Not a single word is spoken by any
character on the Kathakali stage - since they are demons and
gods and not ordinary human beings like us.
Facial Make-up:
The most striking and
spectacular aspect of Kathakali is the
elaborate make-up which takes hours of artistic work. Make-up
itself is an essential part of Abhinaya; that is why it is called
akarya abhinaya which is totally absent in any other classical
dance in India. In Kathakali, only males used to act but now
females do take part. The characters are not so many individuals
but symbolic personifications of their inner qualities. So the
patterns and paints over the face are of utmost significance.
The characters are categorised into several types according to
their inner qualities. Equally significant are the head dress
and the costume of each type. The finished product coming out
of the green room on to the stage is not only a transformed being,
but a splendidly colourful character. The artistic perfection
of Kathakali make-up can fascinate and satisfy even the most
fastidious modern tastes.
Experiments:
Traditionally, only stories
from Hindu mythologies were taken for Kathakali plays. But in
the 20th century Kathakali plays were written and presented based
on Biblical, historical as well as alien themes. Most of these
experimental plays failed to satisfy the sensibility of the connoisseurs
of Kathakali - with a few exceptions.
The present preeminent position
and the international acclaim of Kathakali owe much to poet Vallathol
who founded Kerala Kala Mandalam with unstinted support and,
liberal assistance of his royal friend Mukunda Raja in 1930 to
revive and popularise Kathakali which had fallen on very bad
times, only to be disparaged as mute play, fit only to be preserved
as a museum piece. History proved these doom-predictors wrong
and the far-sightedness of poet Vallathol. Kathakali artists,
once looked down upon as menial servants of landlords and princes
have now gained status, prestige, recognition at the national
level. They have even acquired celebrity status as a result of
awards and fellowships. Kathakali is in its golden age now.
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