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Study of a classical dance form of Kerala, India.
Study of a classical dance form of Kerala.
Rishi met a wonder called Ritika on a trek to Dodital as a student of JNU and fell for her. After spending eight eventful years in India’s best university with a life enriched of art, music, culture, politics and off course, study, they moved to Dehradun where the tied the knot and created a slice of JNU there and were indulged in art, theatre, music and other cultural activities in Doon Valley. Rishi undertook the cause of fighting against devastation and destruction brought upon by big dams and hydro-electricity projects, Ritika was busy pursuing the issue of women’s and community health. When the hill state was hit by the worst disaster, that was in fact, human-made, they were there, at the theatre of this dance of calamity where while rescuing the victims, Rishi, himself became its collateral damage and he became paralysed. They returned to Doon, where they resolved to put a balm on people’s wounds and established a relief camp in a hill village where Rishi was involved for reconstructing people’s broken and shattered homes, while Ritika treated injured men, women and children. Ritika gave an unparalleled gift to Rishi, by taking him to the world famous Valley of Flowers, a trek where this ardent trekker once, always wanted to go, but never went, and they became one there, in the lap of nature.
This book, elucidates the basic steps called Adavus of Bharata Natyam in the traditional Pandanallur style, as taught by the revered Gurus Sri Meenakshi Sundaram Pillai and Sri Muthukumara Pillai, to Sri T.K Narayan and Smt. Jayalakshmi Narayan, parents of the author. It is an honest attempt to explain the various steps with unerring and accurate execution technique. The book offers a visual representation of the Adavus with the help of stick diagrams in a sequential manner so that the beginners and practitioners can understand the finer points of each movement. The author has developed simple schematics to show the various moves, such as jump, stretch, turn, hit etc. The author endeavours to illustrate Adavus in a precise manner in this book. Classification and categorization of each step is the salient feature of this work. Gayathri Keshavan makes a humble effort to pass on the knowledge of this ancient and sacred art to the present and future generations of Bharata Natyam dancers.
文化多樣性已是台灣表演藝術中珍貴的文化資產，其展現不僅止於從本土邁向國際的大型表演藝術，還包括與異國文化交融的外來或在地團體的各種展演型式，而這些碰撞與交融，恰恰能體現出台灣社會接受「跨文化藝術」的可塑性。 本期《光華》封面故事，以表演藝術之多元融合為主軸，含括有外籍表演家之在地融合、本土樂團與世界接軌，以及民俗樂音之跨界展演等面向，透過台灣當代表演藝術，展現台灣與世界連結之能力。
Kathakali Dance-Theatre records the art of Kathakali comprehensively, right from the scenario that paved the way for Kathakali's origin and development to its present history. The book chronicles its various facets - the acting, music and costumes, crucial contributions of the masters, momentous incidences, evolution of styles, riveting anecdotes, and related socio-political issues affecting Kerala. The firsthand personal rendition of the author's experience and the detailed glossary make it immensely readable. Full of photographs depicting the masters of the art, green room activities and the vibrant theatre of Kathakali, this book will be a treasure trove of information for uninitiated readers, arts scholars, theater buffs, potential researchers and students keen about the art and its future. Contents: Foreword; Preface; Charts: Evolution and Transformation of the Art Part I: Introduction: The Land and its Vivid Culture; Part II: A Personal Journey of Discovery, Chapter 1: Poor Man's Rich Legacy; Part III: Perspectives on the Origins and Development of Kathakali, Chapter 2: Traditions in the Arts of Kerala before the Emergence of Kathakali; Chapter 3: Krishnanattam and the Metamorphosis of Ramanattam into Kathakali; Chapter 4: Emergence of Kathakali; Chapter 5: Evolution of Styles in Kathakali: Two Distinctive Traditions; Chapter 6: Three Regional Patrons of the Kaplingatan School as the Southern Style; Chapter 7: Two Legendary Masters; Kathakali and the Natyashastra; Chapter 8: Kathakali's Development and Changing Patronage: Kerala Kalamandalam; Part IV: The Artistic Form of Kathakali, Chapter 9: Abhinaya in Kathakali; Chapter 10: Physical Acting, the Aangika Abhinaya; Chapter 11: Kathakali Sangeetam, the Vaachika Abhinaya; Chapter 12: Costuming, the Aahaarya Abhinaya; Chapter 13: Subtle Acting, the Saatwika Abhinaya; Chapter 14: Percussion and its Role in Abhinaya; Chapter 15: Performance, Theatrical Language, Dramatisation and Variations in Interpolative Acting; Part V: Present Trends and Future Possibilities, Chapter 16: Kathakali: Post-Independence and Present Prospects; Appendices: Women in Kathakali; Kaliyogams.