Make-up of Kathakali
The make-up of Kathakali character is peculiarily native to the Kerala folk-art. In folk theatrical varieties, huge marks and make-ups were as much prevalent during the historic span of time. Elaborate make- up heightens dramatic effects. Colour symbolism reflect certain categories of emotions and gunas. The green colour represents Saattvika reveals godliness, white represents spirituality. Red represents Rajasic reveals violence. Black represents Tamasic reveals evil. Yellow represents the combined character of Saatvika and Rajasic. Thus Kathakali characters are grouped into five major role-types, each having a specific make-up and costume. These role types are Minukku, Paccha, Katti,taadi (has three varieties viz. Velupputaadi, Chuvannataadi and Karupputtadi) and Kari.
Minukku
Minukku is the polished variety of facial make-up consisting in smoothening the actor's face with a coating of a mixture of yellow and red pigments. The composition obtains 'a self' (or natural skin) complexion colour. It reflects the characters usually found in Brahmins, Rishis and Virtuous women. The eyes and eye-lashes are painted and contours elongated with the black unguent and greasy collyrium. Sometimes the face is decorated with white or cream colour dots, running from the cheeks to the fore-head in a bow-shape. The lips are reddened and the forehead is decorated with a caste mark. This colour scheme serves to give a symbolic glow of piety to a devotee character. Women role-types are given delicate touches of the make-up.
Paccha
Paccha or predominantly deep green face role- types, are Gods, celebrated mythological heroes, and virtuous personages, symbolising inner refinement poise, heroism and moral excellence. This include heroes of a play and noble characters, Indra, Krishna, Rama, Lakshmana, Bharata, Satrugnan, Harischandra and Nala. The front part of their faces is given smooth deep green base on which chuttis (white rice-paste curves) run from the centre of the chin,covering the lower jaw, to either side of the face. The eyes and the eye-lashes are painted black and the lips bright red. It assumes the shape of a broad-blade saber or of a sweeping curve of a bow. The forehead, above the bow-tie shaped painted portion, is covered by a red ribbon of the gilded head gear.
Katti
As compared to paccha, the make-up of Katti role-types is complicated. This term literally means the knife, because in its make-up the shapes of colour positions resemble sharply bent daggers. Evil, demoniac and fierce characters standing against the hero of a play. Pratinayakaas such as Asuras (the enemies of the God's) ambitious and arrogant Raavana, Keechaka, Kamsa and Dussaasana are distinctively treated with this make-up. Their faces are given a foundation with green colour, the sides of their noses are painted in red. The red paint round the nose rises up to the forehead above the eye-brows. It is like a patch, an upturned moustache, covering the upper jaw. Its border lines are treated in white. On the green base of the rest of the face, a chutti runs along the jaw-bones from the middle of the cheek. Two white knobs, called chuttippuvus, are placed on the face. These vary in size with the degree of the fearsome appearance of some demoniac characters like Raavana and Dussaasana, two long protruding canine teeth(called dhamshtras)are perched on either side of the mouth. These drop over the lower lips. Katti make-up characters stand in a singular position.
taadi (Beard)
Those who have the taadi make-up are again, good godly and evil-demoniac. To differentiate one from the other, three taadi make-ups are in vogue: Veluppu taadi (white beard), Chuvanna taadi (red beard) and Karuppu taadi (black beard) In these make-ups white chutti is not planted on the face.
Veluppu taadi
It consists of a white beard and a fur coat. It is a realistic make-up for characters like Hanumaan, the son of God Vaayu, and other monkey sages and warriors. The upper half of the face-the neither part of the eyes -and lips are treated with a black ointment. The chin at the middle is decorated with a white rosette, bearing a red dot within. Red paint is applied to the lower part of the lower lip, up to the chin. A thin coating of chutti decoratively encloses the black-end part of the face and meets the chuttinata - the hem of the head dress. Another white pattern develops on either side of the cheeks and circling the red spots, starting from the base of the green painted nose. On the tip of the nose and the forehead two oval-shaped spots are given in red.
Chuvanna taadi
This make-up is given to hideous characters. The face is painted red, with black contour lines drawn round the eyes, lips and chin. This adds to the ferocity of less evil characters like Baali, Sugriiva, Kaalakeya and Dussaasana. The eye-brows and lashes are not elongated, no chutti is applied to the Chuvanna taadi. The face is dubbed in red and treated with black lines. Around the eyes, almost a square patch of deep black colour is provided to give to the eyes a fiendish look of a evil designer. Lips painted in black, are given a hilly curve to give the role type a lucid image of a beastly character. Running from the upper lip are two white paste bristled rows throwing the black patch round the eyes in bold relief and adding ferocity to the fiery red eyes, and demarcating the black portion from the remaining nether part of the face is red. Chuttippuvus (white blobs) on the tip of the nose and the fore-head are bigger in size than those put on by kathi characters. It is the most impressive of all make-ups in Kathakali.
Karuppu taadi
The third type of bearded characters make-up is with a black beard and coat. These characters include Kali, Kaattaalan (hunter), brigands and robber chieftains. In their make-up, the face is first coated with black unguent. The eyes are bracketed within oval-shaped white border lines, the area between two such lines being painted in red. Small white bristles adorn the ridges. Lips are in red. The tip of the nose bears a chuttippuuvu.
Kari
This make-up reveals the vile and evil characters, such as Suurpanakha and Simhika. Their faces are painted in black and the cheeks have a red crescent in the middle. A pair of damshtraas are provided. Shiva in the role of Kiraata (hunter) is also given this type of the make-up.
A remarkable feature of the Kathakali make-up is the reddening of the white of the eyes of all characters by putting in a few young seeds of chunda puuv (sollanum pubescence) crimson eyes stand in contrast to the colour scheme of the face. The practice is usually followed in pacha and minukku faces.
Make-up in the 'Green room'
Kathakali make-up is an elaborate process lasting for over three hours. It helps in giving a super human look to the actors. Whether it is a man's make-up or the woman's, the work is conducted by a make-up expert. Paints used in Kathakali make-up are freshly prepared and applied to ensure correctness of rhythmic curves and precision.
The make-up of the male characters other than saints is tedious. The role-type lies flat on a matted floor and the expert starts drawing 'the designs' on the face with a thin rod. The face part being complete, the role type gives the finishing touches himself. Thereafter he stands up for putting on the costume. The skirt is a well starched and pressed into-frills garments. But before the skirt is put on, the actor ties 20 to 40 pieces of short cloth round his waist by the help of a long cloth twisted rope in order to give the skirt an oval shape. He then puts on the jacket, etc. The finishing touches to the costume are given by the costume attendant. The actor is profusely ornamented with garlands of beads, armlets, cupped mirrors etc. Fully decorated , the actor gives the last minute touches to his make-up with the help of the cupped mirror. His head-dresses are huge and often unwidely .These are tied by an attendant.
The last part of the costuming is the tying up of the anklet bells. Women fancy to have the silver paijaebs (an ornament) and then tie the bells. In the case of male characters a decorative woolen is tied immediately above the anklet and the bells fixed on a leather pad or tied right below the knee.
Kathakali make-up traditions today widely differs from what it was in the seventeenth century.
Training to the Kathakali dancers
An intensive dance training is needed to make the body flexible and supple in order to respond to unusual forms weaved in the course of dancing.
To achieve fluidity, a Kathakali pupil undergoes extensive and vigorous training from an early age. A complete alteration in the behavior of the body is effected. Massages and oil-baths are an essential aid to awaken muscles, joints and nerves and to control their behavior.
Between the age of 11 and 14 years the pupil goes to an Aasaan, the teacher of a Kalari (a kind of gymnasium) and offers to him daanam (a present) either in cash or in kind clothes and with his guru-diksha (benediction) he enrolls himself for training.
Source : malayalamresourcecentre.org
The make-up of Kathakali character is peculiarily native to the Kerala folk-art. In folk theatrical varieties, huge marks and make-ups were as much prevalent during the historic span of time. Elaborate make- up heightens dramatic effects. Colour symbolism reflect certain categories of emotions and gunas. The green colour represents Saattvika reveals godliness, white represents spirituality. Red represents Rajasic reveals violence. Black represents Tamasic reveals evil. Yellow represents the combined character of Saatvika and Rajasic. Thus Kathakali characters are grouped into five major role-types, each having a specific make-up and costume. These role types are Minukku, Paccha, Katti,taadi (has three varieties viz. Velupputaadi, Chuvannataadi and Karupputtadi) and Kari.
Minukku
Minukku is the polished variety of facial make-up consisting in smoothening the actor's face with a coating of a mixture of yellow and red pigments. The composition obtains 'a self' (or natural skin) complexion colour. It reflects the characters usually found in Brahmins, Rishis and Virtuous women. The eyes and eye-lashes are painted and contours elongated with the black unguent and greasy collyrium. Sometimes the face is decorated with white or cream colour dots, running from the cheeks to the fore-head in a bow-shape. The lips are reddened and the forehead is decorated with a caste mark. This colour scheme serves to give a symbolic glow of piety to a devotee character. Women role-types are given delicate touches of the make-up.
Paccha
Paccha or predominantly deep green face role- types, are Gods, celebrated mythological heroes, and virtuous personages, symbolising inner refinement poise, heroism and moral excellence. This include heroes of a play and noble characters, Indra, Krishna, Rama, Lakshmana, Bharata, Satrugnan, Harischandra and Nala. The front part of their faces is given smooth deep green base on which chuttis (white rice-paste curves) run from the centre of the chin,covering the lower jaw, to either side of the face. The eyes and the eye-lashes are painted black and the lips bright red. It assumes the shape of a broad-blade saber or of a sweeping curve of a bow. The forehead, above the bow-tie shaped painted portion, is covered by a red ribbon of the gilded head gear.
Katti
As compared to paccha, the make-up of Katti role-types is complicated. This term literally means the knife, because in its make-up the shapes of colour positions resemble sharply bent daggers. Evil, demoniac and fierce characters standing against the hero of a play. Pratinayakaas such as Asuras (the enemies of the God's) ambitious and arrogant Raavana, Keechaka, Kamsa and Dussaasana are distinctively treated with this make-up. Their faces are given a foundation with green colour, the sides of their noses are painted in red. The red paint round the nose rises up to the forehead above the eye-brows. It is like a patch, an upturned moustache, covering the upper jaw. Its border lines are treated in white. On the green base of the rest of the face, a chutti runs along the jaw-bones from the middle of the cheek. Two white knobs, called chuttippuvus, are placed on the face. These vary in size with the degree of the fearsome appearance of some demoniac characters like Raavana and Dussaasana, two long protruding canine teeth(called dhamshtras)are perched on either side of the mouth. These drop over the lower lips. Katti make-up characters stand in a singular position.
taadi (Beard)
Those who have the taadi make-up are again, good godly and evil-demoniac. To differentiate one from the other, three taadi make-ups are in vogue: Veluppu taadi (white beard), Chuvanna taadi (red beard) and Karuppu taadi (black beard) In these make-ups white chutti is not planted on the face.
Veluppu taadi
It consists of a white beard and a fur coat. It is a realistic make-up for characters like Hanumaan, the son of God Vaayu, and other monkey sages and warriors. The upper half of the face-the neither part of the eyes -and lips are treated with a black ointment. The chin at the middle is decorated with a white rosette, bearing a red dot within. Red paint is applied to the lower part of the lower lip, up to the chin. A thin coating of chutti decoratively encloses the black-end part of the face and meets the chuttinata - the hem of the head dress. Another white pattern develops on either side of the cheeks and circling the red spots, starting from the base of the green painted nose. On the tip of the nose and the forehead two oval-shaped spots are given in red.
Chuvanna taadi
This make-up is given to hideous characters. The face is painted red, with black contour lines drawn round the eyes, lips and chin. This adds to the ferocity of less evil characters like Baali, Sugriiva, Kaalakeya and Dussaasana. The eye-brows and lashes are not elongated, no chutti is applied to the Chuvanna taadi. The face is dubbed in red and treated with black lines. Around the eyes, almost a square patch of deep black colour is provided to give to the eyes a fiendish look of a evil designer. Lips painted in black, are given a hilly curve to give the role type a lucid image of a beastly character. Running from the upper lip are two white paste bristled rows throwing the black patch round the eyes in bold relief and adding ferocity to the fiery red eyes, and demarcating the black portion from the remaining nether part of the face is red. Chuttippuvus (white blobs) on the tip of the nose and the fore-head are bigger in size than those put on by kathi characters. It is the most impressive of all make-ups in Kathakali.
Karuppu taadi
The third type of bearded characters make-up is with a black beard and coat. These characters include Kali, Kaattaalan (hunter), brigands and robber chieftains. In their make-up, the face is first coated with black unguent. The eyes are bracketed within oval-shaped white border lines, the area between two such lines being painted in red. Small white bristles adorn the ridges. Lips are in red. The tip of the nose bears a chuttippuuvu.
Kari
This make-up reveals the vile and evil characters, such as Suurpanakha and Simhika. Their faces are painted in black and the cheeks have a red crescent in the middle. A pair of damshtraas are provided. Shiva in the role of Kiraata (hunter) is also given this type of the make-up.
A remarkable feature of the Kathakali make-up is the reddening of the white of the eyes of all characters by putting in a few young seeds of chunda puuv (sollanum pubescence) crimson eyes stand in contrast to the colour scheme of the face. The practice is usually followed in pacha and minukku faces.
Make-up in the 'Green room'
Kathakali make-up is an elaborate process lasting for over three hours. It helps in giving a super human look to the actors. Whether it is a man's make-up or the woman's, the work is conducted by a make-up expert. Paints used in Kathakali make-up are freshly prepared and applied to ensure correctness of rhythmic curves and precision.
The make-up of the male characters other than saints is tedious. The role-type lies flat on a matted floor and the expert starts drawing 'the designs' on the face with a thin rod. The face part being complete, the role type gives the finishing touches himself. Thereafter he stands up for putting on the costume. The skirt is a well starched and pressed into-frills garments. But before the skirt is put on, the actor ties 20 to 40 pieces of short cloth round his waist by the help of a long cloth twisted rope in order to give the skirt an oval shape. He then puts on the jacket, etc. The finishing touches to the costume are given by the costume attendant. The actor is profusely ornamented with garlands of beads, armlets, cupped mirrors etc. Fully decorated , the actor gives the last minute touches to his make-up with the help of the cupped mirror. His head-dresses are huge and often unwidely .These are tied by an attendant.
The last part of the costuming is the tying up of the anklet bells. Women fancy to have the silver paijaebs (an ornament) and then tie the bells. In the case of male characters a decorative woolen is tied immediately above the anklet and the bells fixed on a leather pad or tied right below the knee.
Kathakali make-up traditions today widely differs from what it was in the seventeenth century.
Training to the Kathakali dancers
An intensive dance training is needed to make the body flexible and supple in order to respond to unusual forms weaved in the course of dancing.
To achieve fluidity, a Kathakali pupil undergoes extensive and vigorous training from an early age. A complete alteration in the behavior of the body is effected. Massages and oil-baths are an essential aid to awaken muscles, joints and nerves and to control their behavior.
Between the age of 11 and 14 years the pupil goes to an Aasaan, the teacher of a Kalari (a kind of gymnasium) and offers to him daanam (a present) either in cash or in kind clothes and with his guru-diksha (benediction) he enrolls himself for training.
Source : malayalamresourcecentre.org
The Art of Kathakali
Kathakali employs the four abhinayas, viz Sattvika, expression of thoughts by the efforts of the mind (Bhaava and Rasa). Aangika, conveyance of ideas by the movements of the various parts of the body (gestures).,Vaacika, spoken words, singing, shrieking, etc., and Aharya, the dress and deportment.
As in earlier dramatic forms, Raamanaattam players also sang the padas. But for the vigorous Kathakali, demanding tremendous physical exertion, singing by the actors was exacting and tiring. A change in the practice was conceived by Prince Vettathu Thampuran, who introduced a few fundamental innovations. He provided seperate singers and introduced the chenda, a percussion instrument, to announce a performance and give background sound effect. This drum's powerful and penetrating sound heightened the acting of supernatural characters appearing on the stage in hideous and fantastic make-ups. The religio-theatrical reforms brought Raamanaattam performances outside the temples for the enjoyment of all sections of the community. Masks were replaced by make-up; Mudras were accentuated, a variety of percussion instruments and characteristic costumes were introduced; singers and musicians formed an independent part of a show.
Symbols of the hand have played an important role in the art of Kathakali. With the help of Mudras, the hand poses are called in Sanskrit, a whole literary expression is reduced to elementary notions. There are sixty-four basic hand poses which connote five hundred words, while the alphabet of the eyes express emotions. Their permutations can be employed to convey any number of meanings requiring any detailed explanation in the modern concept of story-telling.
In the art of Kathakali, all emotional qualities, and psychic conditions acquire remarkable outward manifestation and mukhabhinaya (facial mime) is cunningly, sometimes lightly employed. While the Kathakali use elaborate similes and hyperboles, and fingers permute into mudras to represent words of comparison such as like, as if and same as, the eye-balls roll evanescently to tell the miracles. The face becomes the open drama in which the story is drawn in successive shades and touches of lineament.
According to the theme, a Kathakali song suggests the use of a particular Bhaava and Rasa (aesthetic delights) and the dance and mimicry are rendered most effectively in harmony with these aesthetic appeals. The powerful music heightens the moods of the actor and adds life to acting. He dances to the melodies of the song and executes the various passages with well- defined Padaghats (foot work). It provides scope for the amplification of an emotion and the abridgement of the climax of a story. The powerful footwork trembles the earth below and cuts short the final action.
As Kathakali is a story-play, interpreting a drisya kaavya, its various contrasting characters are presented. There are good and bad characters, demons and gods, wordly and unwordly role-types according to their castes, quality and nature. Each group is distinguished from the other by specific make-ups.
Source : malayalamresourcecentre.org
Kathakali employs the four abhinayas, viz Sattvika, expression of thoughts by the efforts of the mind (Bhaava and Rasa). Aangika, conveyance of ideas by the movements of the various parts of the body (gestures).,Vaacika, spoken words, singing, shrieking, etc., and Aharya, the dress and deportment.
As in earlier dramatic forms, Raamanaattam players also sang the padas. But for the vigorous Kathakali, demanding tremendous physical exertion, singing by the actors was exacting and tiring. A change in the practice was conceived by Prince Vettathu Thampuran, who introduced a few fundamental innovations. He provided seperate singers and introduced the chenda, a percussion instrument, to announce a performance and give background sound effect. This drum's powerful and penetrating sound heightened the acting of supernatural characters appearing on the stage in hideous and fantastic make-ups. The religio-theatrical reforms brought Raamanaattam performances outside the temples for the enjoyment of all sections of the community. Masks were replaced by make-up; Mudras were accentuated, a variety of percussion instruments and characteristic costumes were introduced; singers and musicians formed an independent part of a show.
Symbols of the hand have played an important role in the art of Kathakali. With the help of Mudras, the hand poses are called in Sanskrit, a whole literary expression is reduced to elementary notions. There are sixty-four basic hand poses which connote five hundred words, while the alphabet of the eyes express emotions. Their permutations can be employed to convey any number of meanings requiring any detailed explanation in the modern concept of story-telling.
In the art of Kathakali, all emotional qualities, and psychic conditions acquire remarkable outward manifestation and mukhabhinaya (facial mime) is cunningly, sometimes lightly employed. While the Kathakali use elaborate similes and hyperboles, and fingers permute into mudras to represent words of comparison such as like, as if and same as, the eye-balls roll evanescently to tell the miracles. The face becomes the open drama in which the story is drawn in successive shades and touches of lineament.
According to the theme, a Kathakali song suggests the use of a particular Bhaava and Rasa (aesthetic delights) and the dance and mimicry are rendered most effectively in harmony with these aesthetic appeals. The powerful music heightens the moods of the actor and adds life to acting. He dances to the melodies of the song and executes the various passages with well- defined Padaghats (foot work). It provides scope for the amplification of an emotion and the abridgement of the climax of a story. The powerful footwork trembles the earth below and cuts short the final action.
As Kathakali is a story-play, interpreting a drisya kaavya, its various contrasting characters are presented. There are good and bad characters, demons and gods, wordly and unwordly role-types according to their castes, quality and nature. Each group is distinguished from the other by specific make-ups.
Source : malayalamresourcecentre.org
Origin of Kathakali
It was believed that Kathakali was conceived from Krishnanaattam, the dance drama on the life and activities of Lord Krishna created by the Zamorin of Calicut. The reason for that is said as follows: Once Kottarakkara Thampuran the Raja of Kottarakkara who was attracted by the tone of the Krishnanaattam requested the Zamorin for the loan of a troupe of performers on the eve of some festive occasion. Due to internal feuds and political rivalry between them, the Zamorin refused to send the performers and insulted with the remarks: ”It is useless to depute the troupe, because Kottarakkara Thespian’s court would be neither able to appreciate nor understand anything of the highly artistic Krishnanaattam and the high standard of the performance".
Here the political rivalry between the two chieftains leads to the art rivalry. So Kottarakkara Thampuran initiated a parallel mode of entertainment, which he called Raamanaattam which was later transformed into Aattakatha, and yet later into Kathakali while Krishnanaattam based on the story of Lord Krishna's activities, Raamanaattam described the complete story of Lord Raman. Krishnanaattam was written in Sanskrit, "the language of the Gods". Raamanaattam was in Malayalam, the language of the people. By the end of the seventeenth century, the finished product of Raamanaattam was placed before the world under the tittle Kathakali.
The costume of Kathakali has been much influenced by Chaakkyaar koothu and Koodiyattam the two older forms of dramatic representations in vogue in Kerala. The history of their origins dates back to the period of Perumals i.e. much earlier to the introduction of Raamanaattam. The whole scheme of Abhinaya (acting) and the use of Mudras (hand poses) and gestures were bodily adopted in Kathakali from them in addition to its borrowing and refinement of facial make-up and costume. The use of colour, costume, and make-up present a unique show and create an unearthly atmosphere. Kathakali became more attractive and popular than the Chaakkyaar koothu and Koodiyattam. Moreover ,its performance was not restricted to the precincts of the temples. Kathakali had a golden period between 1665 AD and 1743 AD.
Remarkable contributions were also made by Kaartika Thirunal, the king of Travancore, to Kerala's literature, art and dance. His efforts were also directed to popularising Kathakali among the people. He instituted a tradition of arranging Kathakali performances at various festivals and on the Navaratri night.
Source: malayalamresourcecentre.org
It was believed that Kathakali was conceived from Krishnanaattam, the dance drama on the life and activities of Lord Krishna created by the Zamorin of Calicut. The reason for that is said as follows: Once Kottarakkara Thampuran the Raja of Kottarakkara who was attracted by the tone of the Krishnanaattam requested the Zamorin for the loan of a troupe of performers on the eve of some festive occasion. Due to internal feuds and political rivalry between them, the Zamorin refused to send the performers and insulted with the remarks: ”It is useless to depute the troupe, because Kottarakkara Thespian’s court would be neither able to appreciate nor understand anything of the highly artistic Krishnanaattam and the high standard of the performance".
Here the political rivalry between the two chieftains leads to the art rivalry. So Kottarakkara Thampuran initiated a parallel mode of entertainment, which he called Raamanaattam which was later transformed into Aattakatha, and yet later into Kathakali while Krishnanaattam based on the story of Lord Krishna's activities, Raamanaattam described the complete story of Lord Raman. Krishnanaattam was written in Sanskrit, "the language of the Gods". Raamanaattam was in Malayalam, the language of the people. By the end of the seventeenth century, the finished product of Raamanaattam was placed before the world under the tittle Kathakali.
The costume of Kathakali has been much influenced by Chaakkyaar koothu and Koodiyattam the two older forms of dramatic representations in vogue in Kerala. The history of their origins dates back to the period of Perumals i.e. much earlier to the introduction of Raamanaattam. The whole scheme of Abhinaya (acting) and the use of Mudras (hand poses) and gestures were bodily adopted in Kathakali from them in addition to its borrowing and refinement of facial make-up and costume. The use of colour, costume, and make-up present a unique show and create an unearthly atmosphere. Kathakali became more attractive and popular than the Chaakkyaar koothu and Koodiyattam. Moreover ,its performance was not restricted to the precincts of the temples. Kathakali had a golden period between 1665 AD and 1743 AD.
Remarkable contributions were also made by Kaartika Thirunal, the king of Travancore, to Kerala's literature, art and dance. His efforts were also directed to popularising Kathakali among the people. He instituted a tradition of arranging Kathakali performances at various festivals and on the Navaratri night.
Source: malayalamresourcecentre.org
KATHAKALI
Kathakali is one of the oldest theatre forms in the world. It originated in the area of southwestern India now known as the state of Kerala. Kathakali is a group presentation, in which dancers take various roles in performances traditionally based on themes from Hindu mythology, especially the two epics, the Ramayana and the Mahabharata.
One of the most interesting aspects of Kathakali is its elaborate make-up code. Characters are categorized according to their nature. This determines the colours used in the make-up. The faces of noble male characters, such as virtuous kings, the divine hero Rama, etc., are predominantly green. Characters of high birth who have an evil streak, such as the demon king Ravana, are allotted a similar green make-up, slashed with red marks on the cheeks. Extremely angry or excessively evil characters wear predominantly red make-up and a flowing red beard. Forest dwellers such as hunters are represented with a predominantly black make-up base. Women and ascetics have lustrous, yellowish faces.
The technique of Kathakali includes a highly developed language of gesture, through which the artist can convey whole sentences and stories. The body movements and footwork are very rigourous. To attain the high degree of flexibility and muscle control required for this art, a Kathakali dancer undergoes a strenuous course of training, and special periods of body massage.
The dancers wear large head dresses, and the contours of the face are extended with moulded lime. The extraordinary costumes and make-up serve to raise the participants above the level of mere mortals, so that they may transport the audience to a world of wonders.
The orchestra of a Kathakali performance includes two drums known as the chenda and the maddalam, along with cymbals and another percussion instrument, the ela taalam. Normally, two singers provide the vocal accompaniment. The style of singing particular to Kathakali is called Sopaanam. The orchestra of a Kathakali troupe is unique and provides not only the background to the dancing, but also serves as a highly expressive special effects team. In the traditional village ambiance, the percussionists also provide publicity for the event by playing outside the venue for some hours before the start of the show.
A traditional Kathakali performance begins in the evening and continues throughout the night, culminating at the auspicious hour of dawn, when Good finally conquers Evil. Today, however, it has been modified for the proscenium stage, and urban audiences can participate in this ritualistic theatre experience in the comfort of a plush auditorium, within the span of a couple of hours.
Source : artindia.net
Kathakali is one of the oldest theatre forms in the world. It originated in the area of southwestern India now known as the state of Kerala. Kathakali is a group presentation, in which dancers take various roles in performances traditionally based on themes from Hindu mythology, especially the two epics, the Ramayana and the Mahabharata.
One of the most interesting aspects of Kathakali is its elaborate make-up code. Characters are categorized according to their nature. This determines the colours used in the make-up. The faces of noble male characters, such as virtuous kings, the divine hero Rama, etc., are predominantly green. Characters of high birth who have an evil streak, such as the demon king Ravana, are allotted a similar green make-up, slashed with red marks on the cheeks. Extremely angry or excessively evil characters wear predominantly red make-up and a flowing red beard. Forest dwellers such as hunters are represented with a predominantly black make-up base. Women and ascetics have lustrous, yellowish faces.
The technique of Kathakali includes a highly developed language of gesture, through which the artist can convey whole sentences and stories. The body movements and footwork are very rigourous. To attain the high degree of flexibility and muscle control required for this art, a Kathakali dancer undergoes a strenuous course of training, and special periods of body massage.
The dancers wear large head dresses, and the contours of the face are extended with moulded lime. The extraordinary costumes and make-up serve to raise the participants above the level of mere mortals, so that they may transport the audience to a world of wonders.
The orchestra of a Kathakali performance includes two drums known as the chenda and the maddalam, along with cymbals and another percussion instrument, the ela taalam. Normally, two singers provide the vocal accompaniment. The style of singing particular to Kathakali is called Sopaanam. The orchestra of a Kathakali troupe is unique and provides not only the background to the dancing, but also serves as a highly expressive special effects team. In the traditional village ambiance, the percussionists also provide publicity for the event by playing outside the venue for some hours before the start of the show.
A traditional Kathakali performance begins in the evening and continues throughout the night, culminating at the auspicious hour of dawn, when Good finally conquers Evil. Today, however, it has been modified for the proscenium stage, and urban audiences can participate in this ritualistic theatre experience in the comfort of a plush auditorium, within the span of a couple of hours.
Kathakali literally meaning "story dance" is the pantomimic dance drama,the dancing and the acting being blended together into an inseparable form.It is a combination of facial expressions and body movements which brings out the thought and emotion of the character.
Kathakali is predominantly a male art and the dancing is mostly of the masculine type.The position taken by the actor is angular.He never stands erect while acting,his knees being spread out and his legs forming a rhombus,his hands bent at the elbow and his palms on his hips.The outer feet are never flat on the ground and still the actor maintains a perfect balance.The female character is lasya which is gentle and grateful.This is particularly evident in love scenes
The traditional performance begin at 8 pm and goes until dawn the following morning.It is preceded at sunset by the Kelikottu which is the playing of drums,Gong and cymbals to inform the local people about the performance.Now a days performances are given in halls with footlight and microphones etc. which will not last more than 3 to 4 Hrs. Kathakali plays are mainly based on the stories from the hindu epic Mahabharata,Ramayana and Bhagavata purana and characters represent the mythological being of the 3 world.The upper(devas or gods),the middle world of humans and the nether world(asuras or demons).The costume and make-up transform the actor mentally and physically to portray the character Kathakali's origin and development owe gratitude to the Royal family of Travancore.The Raja of Kottarakara(17 century) is the earliest exponent of this art.During his time Kathakali plays were staged continuously for 24 hours without any break.
A person to enjoy the Kathakali performance he should be aware about Hindu mythology,the character,The make up,the costume,the mudras and finally the slokas or verses sung by the singers.
Kathakali is predominantly a male art and the dancing is mostly of the masculine type.The position taken by the actor is angular.He never stands erect while acting,his knees being spread out and his legs forming a rhombus,his hands bent at the elbow and his palms on his hips.The outer feet are never flat on the ground and still the actor maintains a perfect balance.The female character is lasya which is gentle and grateful.This is particularly evident in love scenes
The traditional performance begin at 8 pm and goes until dawn the following morning.It is preceded at sunset by the Kelikottu which is the playing of drums,Gong and cymbals to inform the local people about the performance.Now a days performances are given in halls with footlight and microphones etc. which will not last more than 3 to 4 Hrs. Kathakali plays are mainly based on the stories from the hindu epic Mahabharata,Ramayana and Bhagavata purana and characters represent the mythological being of the 3 world.The upper(devas or gods),the middle world of humans and the nether world(asuras or demons).The costume and make-up transform the actor mentally and physically to portray the character Kathakali's origin and development owe gratitude to the Royal family of Travancore.The Raja of Kottarakara(17 century) is the earliest exponent of this art.During his time Kathakali plays were staged continuously for 24 hours without any break.
A person to enjoy the Kathakali performance he should be aware about Hindu mythology,the character,The make up,the costume,the mudras and finally the slokas or verses sung by the singers.
Source : artindia.net
Varuna Mudra
Bend the little finger of your right hand until the tip touches the ball of your right thumb; place the thumb of your right hand on it. Press the little finger and thumb slightly with your left thumb. At the same time, your left hand encircles the right hand lightly from below.
Do as needed, or practice three times a day for 45 minutes. Keshav Dev says that the Varuna Mudra should always be done when too much mucus or secretion collects in the stomach or lungs. Congestion can settle in the frontal sinuses, lungs, and the entire digestive tract from the stomach to the large intestine. Most allergic reactions are ultimately mucous congestion triggered by specific irritating substances. When we catch a cold, we are usually in a rut in other ways as well. I find this to be 100 percent true for myself. Since I have recognized this fact, I can also do something to relieve the situation (I reduce my workload and my obligations). Mucous congestion, no matter where it occurs in the body, is always related to overstimulated nerves, inner tensions and unrest, triggered by overstraining, being pressed for time, being aggravated,
or experiencing fear. In addition to practicing the Varuna Mudra, it is always important to make a new life plan. Including other people in it is usually good! Perhaps you should rethink your tasks and obligations and reassign some of them to you partner, your child, and/or your parents. People who suffer from mucous congestion are often too conscious of responsibility and think that everything depends on them or that they must do everything alone.
Bend the little finger of your right hand until the tip touches the ball of your right thumb; place the thumb of your right hand on it. Press the little finger and thumb slightly with your left thumb. At the same time, your left hand encircles the right hand lightly from below.Do as needed, or practice three times a day for 45 minutes. Keshav Dev says that the Varuna Mudra should always be done when too much mucus or secretion collects in the stomach or lungs. Congestion can settle in the frontal sinuses, lungs, and the entire digestive tract from the stomach to the large intestine. Most allergic reactions are ultimately mucous congestion triggered by specific irritating substances. When we catch a cold, we are usually in a rut in other ways as well. I find this to be 100 percent true for myself. Since I have recognized this fact, I can also do something to relieve the situation (I reduce my workload and my obligations). Mucous congestion, no matter where it occurs in the body, is always related to overstimulated nerves, inner tensions and unrest, triggered by overstraining, being pressed for time, being aggravated,
or experiencing fear. In addition to practicing the Varuna Mudra, it is always important to make a new life plan. Including other people in it is usually good! Perhaps you should rethink your tasks and obligations and reassign some of them to you partner, your child, and/or your parents. People who suffer from mucous congestion are often too conscious of responsibility and think that everything depends on them or that they must do everything alone.
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