Several research scholars from the West have, over the last half a century, attempted a clinical analysis of Kerala’s traditional performing arts, especially Koodiyattam and Kathakali while native scholars have almost invariably been drawn to the literature of these art forms rather than the performance per se. Apart from Vazhenkada Kunju Nair, Kalamandalam Krishnankutty Poduwal, Kalamandalam Padmanabhan Nair, Krishna Chaithanya and, to a limited extent, K.P.S. Menon, few have penned or paid serious attention to the multi-layered aesthetics of Kathakali.
T.S. Madhavankutty’s book Kali Kathakkappuram (Performance – Beyond Story) fills the void convincingly. His proclivity for formulating a theoretical base for Kathakali with a scientific bend of mind is evident in the book.
Most of the articles in the anthology speak at length about the performance-culture chiselled by the Kalluvazhichitta of Kathakali.
In the very first article dealing with the theme of the Kathakali plays enacted on stage and the performance text, Madhavankutty cites numerous instances in which the angikabhinaya of Kathakali creates a structure of its own in the ‘padardhabhinaya’ (enactment of the meaning of each word in the line sung).
The correlation between the Adanta tala (14 beats) and the execution of specific hand gestures in some of the key-padams in the plays of Kottayathu Thampuran finds concrete expression in the article. However, the author’s contention that the character on stage is the complete creation of the actor alone is susceptible to dissension.
Madhavankutty, in a bid to substantiate his argument, holds the view that the audience is interested only in the presentation of Bahuka by Kalamandalam Gopi and not the one conceived by playwright Unnayi Warrier. In this context and elsewhere, the author is more opinionated than objective. Literature and stage performance more often play something like a hide and seek in Kathakali.
The stagecraft of Kathakali is one of the major concerns of Madhavankutty. The author touches upon the uniqueness of Kathakali as it boldly defies some of the tenets stipulated by sage Bharata’s Natyasastra.
With a graphic description of the first scene of the play, ‘Kirmeeravadham,’ Madhavankutty closes in on to the distinctive characteristics of the vibhav a (determinant), anubhava (consequent) and vyabhichari (transitory) as portrayed by the actor in the role of Dharmaputra. The author tries to make a comparison between the concept and application of ‘alienation’ in Brechtian Epic Theatre and Kathakali. Madhavankutty scrutinises select padams executed in slow tempo in relation to the tala-patterns, that is Chembada, Adantha and Chamba. By incorporating details, he describes how within the 32-beat Chembada, 56-beat Adantha and 30-beat Chamba, the nayakas and the prathinayakas (anti-heroes) carve their niche on stage, exemplifying their majesty and preponderance.
Technical components such as ‘nokkikkanal’ (usually a nayaka’s or nayika’s time-consuming appreciation of each other by means of eyes, the upanga), ‘kitathikidhimtham’ (technique facilitating the actor’s eye for detail and the distance the character concerned traverses), ‘vattomvechukalasam’ (a unit of dance segment) and eratty (a distinctively composed dance segment) are examined with reference to various sequences in key Kathakali plays. Madhavankutty then zeroes in on to the ‘elaboration of specific hand gestures’ for certain words such as alambhavam (Arjuna’s apparent reluctance to be conceited) in the play, ‘Kalakeyavadham’, jalatha (Arjuna’s feeling of disgrace over his past deed) in ‘Subhadraharanam’ and keki (peacock dance)in ‘Narakasuravadham.’
On the LalithasLalithas in Kathakali are female-demons disguised as ethereal damsels. Except Poothana, all other Lalithas are determined to woo handsome men or beautiful women either for them or for their masters. These characters are treated almost on a par with highly disciplined protagonists such as Bhimasena, Arjuna, Narakasura and Ravana. Madhavankutty essays the role and significance of each Lalitha and those of female black-beard characters such as Soorpanakha, Simhika, Nakrathundi and Hidimbi. He further points out the distinguishing features of Hidimbi from the rest of her tribe.
Madhavankutty briefly appraises the contributions of a few stalwarts such as Kottakkal Krishnankutty Nair, Kottakkal Vasu Nedungadi, Kalamandalam Ramankutty Nair and Padmanabhan Nair before devoting his attention to an exploration of the tala system exclusive to Kerala and its manifestations found in melam and thayambaka. One of the essays discerningly portrays the nature and application of the Chembada tala in the structure of Kerala’s temple music tradition.
Since the articles in the book were written over a period of time, repetition of ideas and even sentences are unavoidable to a certain extent. Nonetheless, its content, for the most part, carries an academic rigour and aesthetic profundity.
Kali Kathakkappuram
T.S. Madhavankutty
Sahithya Pravarthaka Co-operative Society, Kottayam
Rs. 200
