{"id":293,"date":"2017-10-02T17:56:05","date_gmt":"2017-10-02T14:56:05","guid":{"rendered":"http:\/\/disco.teak.fi\/asia\/?p=293"},"modified":"2023-05-17T13:05:08","modified_gmt":"2023-05-17T10:05:08","slug":"kutiyattam-the-only-surviving-form-of-sanskrit-drama","status":"publish","type":"post","link":"https:\/\/disco.teak.fi\/asia\/kutiyattam-the-only-surviving-form-of-sanskrit-drama\/","title":{"rendered":"<em>Kutiyattam<\/em>, The Only Surviving Form of Sanskrit Drama"},"content":{"rendered":"<p><i>Kutiyattam<\/i> (also <i>Kootiattam, Kootiyattam, Koodiyattam<\/i>) is an old form of theatre, which until recently has been performed solely in the temple theatres, <i>kootampalas<\/i>, of Kerala, a state with an exceptionally strong Sanskrit tradition. <i>Kutiyattam<\/i> (lit. \u201cacting and dancing together\u201d) is traditionally performed by men of the Chakiar caste, and the music is played by men of the Nambiar caste, while the women of the Nambiar families, Nangiars, play the female roles.<\/p>\n<div class=\"pl-video vimeo ratio43\"><iframe src=\"https:\/\/player.vimeo.com\/video\/239082985\" width=\"100%\" height=\"100%\"  frameborder=\"0\" webkitAllowFullScreen mozallowfullscreen allowFullScreen wmode=\"transparent\"><\/iframe><\/div>\n<h5>Video clip: King Dusyanta and his charioteer are out hunting; the opening scene of&nbsp; <i>Shakuntala<\/i>, the most famous of all Sanskrit dramas <strong>Veli Rosenberg<\/strong><\/h5>\n<p><i>Kutiyattam<\/i> is a remarkable tradition in several ways. It is the sole example of an unbroken tradition of Sanskrit drama, which has already been discussed. It meticulously follows the instructions of the <i>Natayashastra<\/i> and the later, local acting manuals. In its relatively isolated performing milieu it has preserved its literary heritage, music, acting technique and costuming and make-up practices.<\/p>\n<p>It was not well known in other parts of India or abroad until the latter half of the 20<sup>th<\/sup> century. It was officially included in the UNESCO list the Intangible Cultural Heritage of Humanity in 2008.<\/p>\n<h2>Origins and History<\/h2>\n<p>Literary evidence suggests that <i>kutiyattam<\/i> may have a history of some 1800 years. From the 14<sup>th<\/sup> century onwards the references became more numerous, giving information on several of its aspects. For centuries, <i>kutiyattam<\/i> was very popular and greatly appreciated by the rulers of Kerala.<\/p>\n<p>It was only in the latter part of the 20<sup>th<\/sup> century that <i>kutiyattam<\/i> emerged from the <i>kootampalas<\/i> or temple theatres, which non-Hindus are not allowed to enter. It was added to the curriculum of the state theatre school Kalamandalam, and, later, private <i>kutiyattam<\/i> associations started to do research into it and also promote it internationally. One of these institutions is <i>Natana Kairali<\/i>, led by Sri G. Venu, better known as Venuji.<\/p>\n<h2>The Plays and the Languages<\/h2>\n<p>As has been mentioned above, Kerala has an exceptionally strong Sanskrit tradition. Thus it is no wonder that the classical Sanskrit dramas found their way to Kerala. In the beginning the repertoire of <i>kutiyattam<\/i> consisted of Sanskrit dramas written by writers mainly from northern India, such as Bhasa, Kalidasa, and Harsha.<\/p>\n<p>The first Malayali writer from Kerala, who wrote his own Sanskrit dramas, was Kulasekhara Varma (c. 11<sup>th<\/sup> century). He is said to have also written a <i>Kutiyattam<\/i> manual, the <i>Aattaprakaram<\/i>. He is sometimes regarded as the \u201cfounder\u201d of the art of <i>kutiyattam<\/i>.<\/p>\n<p>Numerous local writers after him wrote plays for <i>kutiyattam<\/i>. They include large-scale heroic plays as well as shorter farces. Many of them are elaborations of episodes from the great epics, the <i>Mahabharata<\/i> and the <i>Ramayana<\/i>, as was also the practice in Sanskrit dramas.<\/p>\n<p>In a similar way to Sanskrit dramas, there is also a clear hierarchy of languages in <i>kutiyattam<\/i> plays. Priests and men of the ruling class speak Sanskrit, while women, children, and ordinary folk use the local vernacular, Malayalam. As in Sanskrit dramas, so also in <i>kutiyattam<\/i>, the clown character can break this social hierarchy by moving freely on every level of society and translate the Sanskrit verses of the heroes into local Malayalam.<\/p>\n<h2>The Stage and the Music<\/h2>\n<p>Most of the <i>kootampalas<\/i> or the temple theatres, in which <i>kutiyattam<\/i> is performed, follow the instructions of the <i>Natyashastra<\/i>. Their ground plan is mostly rectangular and they are rather intimate in size, thus enabling the audience to enjoy the actors\u2019 hand gestures and intricate facial expressions, which, without a doubt, form the highlight of the whole art form.<\/p>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-1 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 100%;\n\t\t\t}\n\t\t\t#gallery-1 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-1 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-1' class='gallery galleryid-293 gallery-columns-1 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in040.jpg'><img width=\"640\" height=\"427\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in040.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-1-975\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-975'>\n\t\t\t\tA large oil lamp is the focal point of all action on the <em>kutiyattam<\/em> stage <span>Jukka O. Miettinen<\/span>\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-2 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-2 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 20%;\n\t\t\t}\n\t\t\t#gallery-2 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-2 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-2' class='gallery galleryid-293 gallery-columns-5 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in041.jpg'><img width=\"400\" height=\"600\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in041.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-2-976\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-2-976'>\n\t\t\t\tA portable curtain behind which important characters are introduced <span>Jukka O. Miettinen<\/span>\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in042.jpg'><img width=\"400\" height=\"600\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in042.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-2-977\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-2-977'>\n\t\t\t\tA <em>mizhavu<\/em> drum <span>Jukka O. Miettinen<\/span>\n\t\t\t\t<\/dd><\/dl>\n\t\t\t<br style='clear: both' \/>\n\t\t<\/div>\n\n<p>In front of the earthen stage there is always a big oil lamp. It is the focal point of all actions and it illuminates the actors\u2019 faces and gestures. Behind the stage are two doors, which lead into the dressing room.<\/p>\n<p>Important characters are introduced from behind a hand-held curtain carried by two stagehands. The characters then dramatically appear to make their mimetic self-introductions according to their specific temperaments. The curtain functions as a demarcation line between this world and the mythical world of fiction.<\/p>\n<p>The dominant instrument is a huge copper drum, <i>mizhavu<\/i>, which is placed in its own wooden enclosure at the rear of the stage. Other instruments include cymbals, a small drum played with a stick, and a conch shell. Every now and then the actors utter their own lines in a most slow and stylised manner.<\/p>\n<h2>The Acting<\/h2>\n<p>Much of the brilliance of the acting lies in the body language, or the above discussed <a href=\"http:\/\/www.xip.fi\/atd\/india\/bharata-and-his-natyashastra.html#abhinaya\"><i>abhinaya<\/i> style of acting<\/a>. The acting is a very slow process, as almost every word is given a lengthy commentary by means of gestures and mime. Thus the performance of a single <i>kutiyattam<\/i> play usually takes several days. Some Sanskrit dramas may have taken up to 70 days to be enacted with the <i>kutiyattam<\/i> technique.<\/p>\n<p>The actors often execute the long mimetic monologues while sitting on a wooden stool in front of the oil lamp. There also exists a solo form of <i>kutiyattam<\/i> called <i>koothu<\/i>, which is narrative in character. The female <i>koothu<\/i>, <i>nangiarkuttu<\/i>, will be discussed in the next chapter.<\/p>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-3 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-3 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 50%;\n\t\t\t}\n\t\t\t#gallery-3 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-3 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-3' class='gallery galleryid-293 gallery-columns-2 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in043.jpg'><img width=\"400\" height=\"600\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in043.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-3-978\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-3-978'>\n\t\t\t\tKing Dusyanta from the Sanskrit play <em>Shakuntala<\/em> <span>Jukka O. Miettinen<\/span>\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in044.jpg'><img width=\"400\" height=\"600\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in044.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-3-979\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-3-979'>\n\t\t\t\tThe King is shooting a deer <span>Jukka O. Miettinen<\/span>\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-4 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-4 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 20%;\n\t\t\t}\n\t\t\t#gallery-4 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-4 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-4' class='gallery galleryid-293 gallery-columns-5 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in045.jpg'><img width=\"400\" height=\"600\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in045.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-4-980\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-4-980'>\n\t\t\t\tThe King in love <span>Jukka O. Miettinen<\/span>\n\t\t\t\t<\/dd><\/dl>\n\t\t\t<br style='clear: both' \/>\n\t\t<\/div>\n\n<p>In the actual <i>kutiyattam<\/i>, in which several actors participate, the actor executing a long mimetic solo monologue is often left alone on the stage. When the monologue is finished, the other actors return to their places so that the dramatic action may again continue.<\/p>\n<p>The actor\u2019s mimetic skills are trained to such a high level that he is able, if the play demands, to simultaneously express different feelings with the right and left side of his face. He can also \u201cmono act\u201d a mimetic dialogue all by himself, for example, by indicating the change of role from God Shiva to his consort Parvati by changing the position of his shawl.<\/p>\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-5 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-5 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 50%;\n\t\t\t}\n\t\t\t#gallery-5 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-5 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-5' class='gallery galleryid-293 gallery-columns-2 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in047.jpg'><img width=\"400\" height=\"600\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in047.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-5-982\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-5-982'>\n\t\t\t\tA master is practising a mimetic monologue <span>Jukka O. Miettinen<\/span>\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in046.jpg'><img width=\"400\" height=\"600\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in046.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-5-981\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-5-981'>\n\t\t\t\tA master is practising a mimetic monologue <span>Jukka O. Miettinen<\/span>\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\n\n\t\t<style type=\"text\/css\">\n\t\t\t#gallery-6 {\n\t\t\t\tmargin: auto;\n\t\t\t}\n\t\t\t#gallery-6 .gallery-item {\n\t\t\t\tfloat: left;\n\t\t\t\tmargin-top: 10px;\n\t\t\t\ttext-align: center;\n\t\t\t\twidth: 100%;\n\t\t\t}\n\t\t\t#gallery-6 img {\n\t\t\t\tborder: 2px solid #cfcfcf;\n\t\t\t}\n\t\t\t#gallery-6 .gallery-caption {\n\t\t\t\tmargin-left: 0;\n\t\t\t}\n\t\t\t\/* see gallery_shortcode() in wp-includes\/media.php *\/\n\t\t<\/style>\n\t\t<div id='gallery-6' class='gallery galleryid-293 gallery-columns-1 gallery-size-full'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in048.jpg'><img width=\"640\" height=\"432\" src=\"https:\/\/disco.teak.fi\/asia\/wp-content\/uploads\/2017\/10\/in048.jpg\" class=\"attachment-full size-full\" alt=\"\" loading=\"lazy\" aria-describedby=\"gallery-6-983\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-6-983'>\n\t\t\t\tTraining of the energetic, \u201cmasculine\u201d <em>tandava<\/em> technique of <em>kutiyattam<\/em> <span>Jukka O. Miettinen<\/span>\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/>\n\t\t<\/div>\n\n<p>Because of the slow style of acting, which concentrates on elaborating the characters\u2019 reactions, the enacting of a <i>kutiyattam<\/i> play in its entirety takes several days. That is why performances may start with kinds of flashback scenes in which the important events of the previous part are summarised.<\/p>\n<h2>Costumes and Make-up<\/h2>\n<p>Both in costuming and make-up <i>kutiyattam<\/i> is clearly an indigenous form of art. The actors\u2019 wide, skirt-like lower garments are believed to have developed from archaic dance costumes made of leaves and other natural materials. A speciality of the cotton-made <i>kutiyattam<\/i> garment is that its back forms a kind of huge, intricate rosette constructed of tight draperies. The upper body and arms are covered with a long-sleeved jacket.<\/p>\n<p>Heavy ornaments and headgear, mostly made of gilded wood, add to the <i>kutiyattam<\/i>\u2019s exaggerated aesthetics, which bear clear, stylistic similarities to the 15<sup>th<\/sup>\u201317<sup>th<\/sup> century murals such as can be seen in the famous Mattancherry Palace in Kochi, in Central Kerala.<\/p>\n<p>The make-up is usually non-naturalistic and brightly coloured. Some make-up types are characterised by a white frame-like ridge, made of thick rice paste <i>(chutti)<\/i>. Although highly stylised, the make-up varies according to each specific role.<\/p>\n<p>Later, this overall aesthetics was further developed in <i>krishnanattan<\/i> and particularly in <i>kathakali<\/i>, in which the make-up types were classified according to the specific character categories. The costuming and the ornaments took a further leap towards baroque abundance and reflected a fairytale-like mythical reality.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Kutiyattam (also Kootiattam, Kootiyattam, Koodiyattam) is an old form of theatre, which until recently has been performed solely in the temple theatres, kootampalas, of Kerala, a state with an exceptionally strong Sanskrit tradition. Kutiyattam (lit. \u201cacting and dancing together\u201d) is traditionally performed by men of the Chakiar caste, and the music is played by men [&#8230;]<\/p>\n","protected":false},"author":2,"featured_media":2390,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[13],"tags":[],"acf":[],"_links":{"self":[{"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/posts\/293"}],"collection":[{"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/comments?post=293"}],"version-history":[{"count":12,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/posts\/293\/revisions"}],"predecessor-version":[{"id":3543,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/posts\/293\/revisions\/3543"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/media\/2390"}],"wp:attachment":[{"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/media?parent=293"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/categories?post=293"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/disco.teak.fi\/asia\/wp-json\/wp\/v2\/tags?post=293"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}