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Books > Performing Arts > Kathakali: A Practitioner's Perspective
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Kathakali: A Practitioner's Perspective
Kathakali: A Practitioner's Perspective
Description
Reviews:

"Sadanam P. V. Balakrishnan is one of those amazing children of India who has risen from a humble beginning to sit upon the very throne of his chosen field. He is supremely gifted; is bold and firm. Balakrishnan has not taken anything for granted. He worked at his faults, as all good artists should. He was an exemplary student. He cared for his gurus deeply and absorbed, not merely their art, but crucially their philosophy, as well. In his quiet way, Balakrishnan has done what few could. He has succeeded in making Kathakali an acceptable art form in the national and international level.

But what is exciting is his mastery over both performance and teaching methodology. He is a consummate artist who enquires constantly. He understands his form - the past that was and the present and also throws his mind to the future. He experiments boldly in his style, whatever he does, he does with extreme care and after due contemplation. Balakrishnan's own prowess over this extremely difficult art of abhinaya allows him to bare to the reader the process of physical, mental and emotional preparation that are required to play-act a great theme. He even speaks with authority on the aspect of music for the dance. Such a person is supremely well placed to write about this difficult dance art. He has done so and this is a welcome gift to the world of dance. What he writes about is what he loves most. And that is the dance form - Kathakali. All its moves and all its graces - with deep knowledge and with abiding love."

Ms. Leela Samson
Director, Kalakshetra, Chennai

CONTENTS
PREFACE 8
ACKNOWLEDGEMENTS 10
FOREWORD 12
DEDICATION 17
INTRODUCTION 19
PART I: ORIGINS
THE SEED BED 23
INDIGENOUS INFLUENCES ON THE ORIGIN AND DEVELOPMENT OF KATHAKALI 27
THEYYAM 29
MUTIYETTU 43
KALARIPAYATTU 55
INFLUENCES OF CLASSICAL PERFORMING ART FORMS ON KATHAKALI 59
KOOTIATTAM 61
KRISHNANATTAM 73
RAMANATTAM 79
PART II: KATHAKALI
THE DEVELOPMENT OF KATHAKALI 83
MAJOR STYLES OF KATHAKALI 89
SOCIAL CONTEXT OF KATHAKALI 93
PART III: TRAINING AND PERFORMANCE
TRAINING FOR KATHAKALI 97
PERFORMANCE SEQUENCE 111
CHOREOGRAPHIC STRUCTURES AND CONVENTIONS 119
PART IV: ABHINAYA
ABHINYA IN KATHAKALI:
THE ART OF AESTHETIC COMMUNICATION 127
ANGIKA ABHINAYA:
THE ART OF ACTING THROUGH THE BODY 133
SATVIKA ABHINAYA:
THE ART OF ACTING THE INNER EMOTIONS 147
AHARYA ABHINAYA:
THE ART OF ACTING THROUGH MAKE-UP AND COSTUMES 161
VACHIKA AVHINAYA:
THE ART OF DIALOGUE AND MUSICAL ACCOMPANIMENT 175
PART V: REPERTOIRE
THE KATHAKALI REPERTOIRE 181
KOTTARAKKARA TAMPURAN 189
KOTTAYAM TAMPURAN 191
UNNAYI VARRIER 199
IRAYIMMAN THAMPI 209
OTHER POPULAR ATTAKATHAS 213
ILAKIYATTAMS(INTERPOLATIONS) 221
EXPERIMENTS AND INNOVATIONS 235
PART VI: THREE GENERATIONS OF KATHAKALI GURUS OF THE KALLUVAZHI STYLE AND THEIR LEGACY
ITTIRARICHA MENON ASAN 241
PATTIKKANTHODI RAMUNNI MENON ASAN 243
KEEZHUPADAM KUMARAN NAIR ASAN 247
ABOUT MYSELF 253
ASSOCIATION WITH THE INTERNATIONAL CENTER FOR KATHAKALI 258
OTHELLO 261
PART VII: THE FUTURE OF KATHAKALI 269
GLOSSARY 275
BIBLIOGRAPHY 290


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Kathakali: A Practitioner's Perspective

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Item Code:
IDF402
Cover:
Hardcover
Edition:
2005
Publisher:
Poorna Publications
ISBN:
8130004534
Language:
English
Size:
11.2" X 8.5"
Pages:
290 (In Full Color)
Other Details:
Weight of the Book: 1.378 kg
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Reviews:

"Sadanam P. V. Balakrishnan is one of those amazing children of India who has risen from a humble beginning to sit upon the very throne of his chosen field. He is supremely gifted; is bold and firm. Balakrishnan has not taken anything for granted. He worked at his faults, as all good artists should. He was an exemplary student. He cared for his gurus deeply and absorbed, not merely their art, but crucially their philosophy, as well. In his quiet way, Balakrishnan has done what few could. He has succeeded in making Kathakali an acceptable art form in the national and international level.

But what is exciting is his mastery over both performance and teaching methodology. He is a consummate artist who enquires constantly. He understands his form - the past that was and the present and also throws his mind to the future. He experiments boldly in his style, whatever he does, he does with extreme care and after due contemplation. Balakrishnan's own prowess over this extremely difficult art of abhinaya allows him to bare to the reader the process of physical, mental and emotional preparation that are required to play-act a great theme. He even speaks with authority on the aspect of music for the dance. Such a person is supremely well placed to write about this difficult dance art. He has done so and this is a welcome gift to the world of dance. What he writes about is what he loves most. And that is the dance form - Kathakali. All its moves and all its graces - with deep knowledge and with abiding love."

Ms. Leela Samson
Director, Kalakshetra, Chennai

CONTENTS
PREFACE 8
ACKNOWLEDGEMENTS 10
FOREWORD 12
DEDICATION 17
INTRODUCTION 19
PART I: ORIGINS
THE SEED BED 23
INDIGENOUS INFLUENCES ON THE ORIGIN AND DEVELOPMENT OF KATHAKALI 27
THEYYAM 29
MUTIYETTU 43
KALARIPAYATTU 55
INFLUENCES OF CLASSICAL PERFORMING ART FORMS ON KATHAKALI 59
KOOTIATTAM 61
KRISHNANATTAM 73
RAMANATTAM 79
PART II: KATHAKALI
THE DEVELOPMENT OF KATHAKALI 83
MAJOR STYLES OF KATHAKALI 89
SOCIAL CONTEXT OF KATHAKALI 93
PART III: TRAINING AND PERFORMANCE
TRAINING FOR KATHAKALI 97
PERFORMANCE SEQUENCE 111
CHOREOGRAPHIC STRUCTURES AND CONVENTIONS 119
PART IV: ABHINAYA
ABHINYA IN KATHAKALI:
THE ART OF AESTHETIC COMMUNICATION 127
ANGIKA ABHINAYA:
THE ART OF ACTING THROUGH THE BODY 133
SATVIKA ABHINAYA:
THE ART OF ACTING THE INNER EMOTIONS 147
AHARYA ABHINAYA:
THE ART OF ACTING THROUGH MAKE-UP AND COSTUMES 161
VACHIKA AVHINAYA:
THE ART OF DIALOGUE AND MUSICAL ACCOMPANIMENT 175
PART V: REPERTOIRE
THE KATHAKALI REPERTOIRE 181
KOTTARAKKARA TAMPURAN 189
KOTTAYAM TAMPURAN 191
UNNAYI VARRIER 199
IRAYIMMAN THAMPI 209
OTHER POPULAR ATTAKATHAS 213
ILAKIYATTAMS(INTERPOLATIONS) 221
EXPERIMENTS AND INNOVATIONS 235
PART VI: THREE GENERATIONS OF KATHAKALI GURUS OF THE KALLUVAZHI STYLE AND THEIR LEGACY
ITTIRARICHA MENON ASAN 241
PATTIKKANTHODI RAMUNNI MENON ASAN 243
KEEZHUPADAM KUMARAN NAIR ASAN 247
ABOUT MYSELF 253
ASSOCIATION WITH THE INTERNATIONAL CENTER FOR KATHAKALI 258
OTHELLO 261
PART VII: THE FUTURE OF KATHAKALI 269
GLOSSARY 275
BIBLIOGRAPHY 290


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