Relevant bibliographies by topics / Kathakali

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Kathakali'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Kathakali"

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Madhavan, Arya. "Redefining the Feminine in Kathakali." New Theatre Quarterly 35, no. 02 (April 15, 2019): 169–86. http://dx.doi.org/10.1017/s0266464x19000071.

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In this article Arya Madhavan examines the significance of the female protagonist Asti from the new Kathakali play, A Tale from Magadha (2015), in the four-hundred-year-old patriarchal history of Kathakali. The play is authored by Sadanam Harikumar, a Kathakali playwright and actor, whose contemporary retelling of Hindu myths and epics afford substantial agency to the female characters, compelling radical reimagining of Kathakali’s gender norms and a reconsideration of the significance of female characters, both on the stage and in the text. Asti unsettles the conventional norms of womanhood that have defined and structured the ‘Kathakali woman’ over the last five centuries. Although several new Kathakali plays have been created in recent decades, they seldom include strong female roles, so Harikumar’s plays, and his female characters in particular, deserve a historic place in the Kathakali tradition, whose slowly changing gender norms are here analyzed for the first time. Arya Madhavan is a senior lecturer in the University of Lincoln. She has been developing the research area of women in Asian performance since 2013 and edited Women in Asian Performance: Aesthetics and Politics (Routledge, 2017). She is a performer of Kutiyattam, the oldest Sanskrit theatre form from India, and serves as associate editor for the Indian Theatre Journal.
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Zarrilli, Phillip B., and G. Venu. "Mudras in Kathakali." Asian Theatre Journal 7, no. 1 (1990): 113. http://dx.doi.org/10.2307/1124042.

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Selvi, C., Y. Anvitha, C. H. Asritha, and P. B. Sayannah. "Kathakali face expression detection using deep learning techniques." Journal of Physics: Conference Series 2062, no. 1 (November 1, 2021): 012018. http://dx.doi.org/10.1088/1742-6596/2062/1/012018.

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Abstract To develop a Deep Learning algorithm that detects the Kathakali face expression (or Navarasas) from a given image of a person who performs Kathakali. One of India’s major classical dance forms is Kathakali. It is a “story play” genre of art, but one distinguished by the traditional male-actor-dancers costumes, face masks and makeup they wear. In the Southern region of India, Kathakali is a Hindu performance art in Malayalam speaking. Most of the plays are epic scenes of Mahabharata and Ramayana. A lot of foreigners visiting India are inspired by this art form and have been curious about the culture. It is still used for entertainment as a part of tourism and temple rituals. An understanding of facial expressions are essential so as to enjoy the play. The scope of the paper is to identify the facial expressions of Kathakali to have a better understanding of the art play. In this paper, Machine Learning and Image Processing techniques are used to decode the expressions. Kathakali face expressions are nine types namely-Adbhutam (wonder), Hasyam (comic), Sringaram(love), Bheebatsam(repulsion), Bhayanakam(fear), Roudram(anger), Veeram(pride), Karunam(sympathy) and Shantham (peace). These Expressions are mapped to real world human emotions for better classification through face detection and extraction to achieve the same. Similarly a lot of research in terms of Preprocessing and Classification is done to achieve the maximum accuracy. Using CNN algorithm 90% of the accuracy was achieved. In order to conserve the pixel distribution and as no preprocessing was used for better object recognition and analysis Fuzzy algorithm is taken into consideration. Using this preprocessing technique 93% accuracy was achieved.
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Raina, Arjun. "Desdemona moksham: A Shakespearean murder revisited." Indian Theatre Journal 5, no. 1 (August 1, 2021): 87–102. http://dx.doi.org/10.1386/itj_00018_1.

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This article examines two performances, Othello in Kathakali and The Magic Hour, concentrating the analysis around two different choices made around a single action: the killing of Desdemona. While Desdemona is killed in the Kathakali Othello, in The Magic Hour this does not occur. The argument in this article differs from a critique that suggests Othello in Kathakali, created by Sadanam Balakrishnan and performed by the International Center for Kathakali in New Delhi, fails to nuance the inherent misogyny in the original Shakespearean text while improvising on its own conventions. A sustained counter argument is presented, which suggests that the design of the performance has enough new elements, fresh codes and reinvented conventions to address the political/racial theme of the story, and that any misogyny inherently lies not in the creator’s intentions, but rather in the Shakespearean text itself. The Magic Hour, on the other hand, negotiates the misogyny in the Shakespearean text more directly and, by choosing not to kill Desdemona, transforms the murder sequence into a scene of liberation, of moksham.
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Emigh, John, and Phillip Zarrilli. "Beyond the Kathakali Mystique." Drama Review: TDR 30, no. 2 (1986): 172. http://dx.doi.org/10.2307/1145740.

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Pitkow, Marlene. "Kathakali: Kottayam Plays (review)." Asian Theatre Journal 21, no. 2 (2004): 226–30. http://dx.doi.org/10.1353/atj.2004.0023.

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Raina, Arjun. "The ‘Kathakali Mirror Box’." Theatre, Dance and Performance Training 8, no. 1 (January 2, 2017): 61–75. http://dx.doi.org/10.1080/19443927.2016.1236513.

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Nair, Janaki Sasidharan. "Intertwined body and mind: Embodying character and reflections on the performative experience in Kathakali." Indian Theatre Journal 7, no. 1 (June 1, 2023): 47–63. http://dx.doi.org/10.1386/itj_00029_7.

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The goal of this study is to present an interrogation on the notion of ‘becoming’ a character in Kathakali and to develop some critical questions about the creative transformation widely discussed in the performance studies scholarship, whether it is a complete psychophysical process during a performance. As such, this study is primarily committed to the task of analysing and describing the experience of a Kathakali performer while they embody a character, and attempts to underscore that the performative transformation occurs as an oscillatory movement between the trained body and the mind. With this disposition, this study tries to make sense of everyday performativity of Kathakali performers shaped by their training, social and cultural background and how their somatic and psychological state during the performance helps them experience a performative transformation. This will be closely examined under three sections: (1) the physical training and the ways in which the actor’s body is prepared for the performance, (2) the nature of the internal preparation of the actor and (3) an account of how this internal and external preparation helps the actor embody character and what the actor experiences during a performance. In an attempt to investigate this performative experience, I employ frameworks provided by Philip Zarilli, Richard Schechner and Eugenio Barba and their observations about the body and the mind in performance to offer additional perspectives on the performative transformation in Kathakali. This article is informed by both scholarly sources and the author’s own practice of Kathakali as a performer.
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Tremblay, Richard. "Can a Kathakali (‘story-play’) hold a performance reading?" Indian Theatre Journal 7, no. 1 (June 1, 2023): 37–45. http://dx.doi.org/10.1386/itj_00030_1.

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The reformulation of the world heritage, on the one hand, and the discontinuity of contemporary art on the other congregate at the agency of the performing subject. Yet, the partitioning of synchronicity and diachronicity concur at new cultural sites and conjunctions of ethos to allow discursive stylization, giving ample scope for studying acts of performance in contact. In this perspective, the Kathakali Nāṭyōtpatti (‘birth of theatre’), a new production recently presented at the Kalamandalam Kūttampalam traditional theatre of Kerala, makes performance strategies visible enough to gain insight into the super roles densely packed into the work of art. The article seeks the story maker in the position of the story teller, especially in this presentation on the origins of dance where a young generation of theatre artists are underway to find more or less new paths in understanding what they perform. Judging from the small attendance, a mix of teachers, dance students and members of the local audience who gathered at the opening night of a puttiyakatha (‘new Kathakali story’), some scratching their heads, others peeping into their notes on the play in search of points of reference in the story, a sense of unfamiliarity pervaded the atmosphere at the presentation of Nāṭyōtpatti (‘The Birth of a Theatre/Dance/Music’) in Kerala. To the native audience, a Kathakali performance bearing upon the Nāṭyaśāstra, the Indian holy book on theatre, dance, music and the theatre arts, could be as exotic as a Kathakali Shakespeare. Kathakali has long been associated with the epics and the Pūraṇas. Dealing with the birth of dance through the medium of dance might appear auto-referential. But that gave the theatrical event an overlay to its aesthetic expression. And yet turning to the śāstra to go back to the origins of theatre and dance, the Kathakali dance theatre exposes itself as a mode of representation, and warrants a reflection on its formative years and the ongoing process of transformation involved in its narrative and dramatic devices.
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Lieblein, Leanore. "Review: Play: Kathakali-King Lear." Cahiers Élisabéthains: A Journal of English Renaissance Studies 38, no. 1 (October 1990): 71–73. http://dx.doi.org/10.1177/018476789003800113.

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Dissertations / Theses on the topic "Kathakali"

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John, Chrisilda. "Fusion of dance and painting in Kathakali." Thesis, Queensland University of Technology, 1999.

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This thesis explores how fusion of dance and painting is a creative process in the traditional Indian theatrical dance of Kathakali. The thesis argues that fusion is a powerful creative process in this art form, and identifies (in Chapters 2, 3 and 4) the goal, conditions and techniques that contribute to this process. This study was triggered in part by my own visual practice. As an Expressionist artist I attempt to fuse dance and painting. I locate the notion of fusion in the Expressionist movement and in the work of three contemporary artists, including my own. The devices used in Kathakali would illuminate the artist who is engaged in the fusion of dance and painting.
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Glynn, John. "Kathakali a study of the aesthetic processes of popular spectators and elitist appreciators engaging with performances in Kerala /." Connect to full text, 2001. http://hdl.handle.net/2123/834.

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Thesis (Ph. D.)--University of Sydney, 2002.
Title from title screen (viewed Apr. 24, 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of Performance Studies, Faculty of Arts. Degree awarded 2002; thesis submitted 2001. Includes bibliography. Also available in print form.
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Filho, Almir Ribeiro da Silva. "Edward Gordon Craig e o Über-Marionette - A pedagogia da morte do ator e uma interface com o teatro da Índia." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-22082016-134817/.

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O Über-marionette é a proposta mais célebre e polêmica de Edward Gordon Craig. Ela parte de uma premissa inicial que sentencia à morte o ator, identificado como um empecilho para o desenvolvimento do teatro. Ao mesmo tempo se desenvolve positivamente em uma pedagogia, ainda que velada, em sua obra. Por isso decidimos denominar esta tese de \"Pedagogia da morte do ator\", compreendendo o paradoxo contido nesta expressão como uma elaboração característica do sistema intelectual de Gordon Craig. Ao criar uma representação imagética para uma crítica ao teatro de seu tempo, Craig formulava, simultaneamente, uma proposta, em forma alegórica, de um revolucionário projeto para o redimensionamento da arte teatral, como um todo. E apresentava uma pedagogia ainda inovadora baseada na relação entre o ator e o material inerte. Muito do longevo potencial revolucionário do Über-marionette, é devido à utilização metódica de algumas matérias-primas: A primeira delas é uma crítica incisiva sobre o trabalho do ator e sobre a prática teatral de um modo geral. A segunda a linguagem do Teatro de bonecos, e sua natureza evocativa de ritualidades e dialéticas. A terceira por uma proposta de redimensionamento das práticas e estéticas teatrais, pleiteando o renascimento da arte do ator e o surgimento da figura do Encenador teatral. A provocação do Über-marionette foi o ponto inicial de um diálogo entre Gordon Craig e Ananda Coomaraswamy, historiador de arte indiana. Essa interface com o Oriente sempre esteve presente no pensamento de Craig e encontrou em Coomaraswamy um interlocutor importante que o desafiou sobre a criação do Über-marionette e sua abordagem sobre a arte teatral oriental. A reação precavida de Craig em relação a trocas entre tradições inicia as reflexões sobre o tema do teatro intercultural e aponta suas idiossincrasias. Apresentamos o parentesco entre o Über-marionette e o ícone das artes cênicas hindus, o deus Shiva Nataraja e com o livro que regula a prática cênica tradicional na Índia, o Natya Shastra. Tomamos como exemplo prático para tentar avaliar concretamente esse embate dialógico o Kathakali, estilo de teatro clássico masculino do sul da índia. A partir daí, analisamos a tradição pedagógica indiana para a arte teatral (o sistema de gurus) que baseou a argumentação de Coomaraswamy para sua crítica à formação do Über-marionette. E avaliamos se o teatro Kathakali poderia configurar uma concretização da argumentação de Coomaraswamy. E se esta concretização responderia à demanda de Gordon Craig por um ator Über-marionette. Dentro dessa análise, observamos o processo de estilização e codificação formal proposta pelos teatros asiáticos e de marionetização de seus atores. Esse diálogo entre Gordon Craig e Coomaraswamy foi o prenúncio de uma complexa interface que até hoje se mostra recheada de idiossincrasias e de difícil emolduramento. Exemplificando a ciclicidade desta questão, resgatamos o embate entre Rustom Bharucha, crítico severo das tentativas de interculturalismo ocidental e Richard Schechner, um dos mentores das aproximações entre o teatro ocidental e as formas teatrais tradicionais do Oriente.
The Über - marionette is the most celebrated and controversial proposal of Edward Gordon Craig . It begins from an initial premise that sentenced the actor to death, identifying the actor as a hindrance to the development of the theater. At the same time develops positively into pedagogy, although hidden in his writings. We decided to call it \"Pedagogy of the death of the actor\", understanding the paradox contained in this expression as an intellectual characteristic of the Gordon Craig\'s system of thinking. By creating an imagistic representation for his critique to the theater of his time, Craig formulated simultaneously a proposal , in allegorical form , of a revolutionary design for the resizing of theater art as a whole. An innovative pedagogy based on the relationship between the actor and inert material. Much of the longevity of the Über-marionette\'s revolutionary potential is due to the methodical use of some raw materials: The first is an incisive critique of the work of the actor and the theater practice generally. The second one, the language of puppet theater, and its evocative nature of rituality and dialectical properties. The third one, a proposal for a complete reconstruction of the theatrical practice and aesthetics, claiming for a revival of the art of the actor and the emergence of the figure of Theatrical Stage Director. This interface with the East was always present in the thought of Craig and found in Coomaraswamy an important interlocutor who challenged him about his the Über-marionette and his approach on the eastern theater art. The cautious reaction from Craig regarding exchanges between traditions begins the investigations on the theme of intercultural theater and points out its idiosyncrasies. This thesis points out the relationship between the Über-marionette and the icon of the hindu performing arts, the god Shiva Nataraja, and the book that rules the practice of traditional scenic in India, the Natya Shastra. We take as a practical example to try to concretely evaluate this dialogical encounter, the Kathakali theater classic male style from southern India. Then, we analyze the pedagogical tradition for Indian theatrical art (Guru system) which supported Coomaraswamy\'s argument founding his critical to the creation f the Über - marionette. And we evaluate if the Kathakali theater could be seen as an embodiment of Coomaraswamy\'s argument. And if this embodiment answers Craig\'s demand for an actor Über - marionette. Within this analysis, we observe the asian theatre\'s process of formal stylization and codification of its scene and acting. This dialogue between Gordon Craig and Coomaraswamy was the precursor of a complex interface that even today presents its idiosyncrasies and difficult framing . Exemplifying the cyclicality of this issue, we redeemed the clash between Rustom Bharucha, harsh critic of Western attempts to Interculturalism and Richard Schechner , one of the mentors of the approaches between western theater and the traditional theater forms of the East.
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Szily, Eva. "Les mudrā, du Kūṭiyāṭṭam au Kathakaḷi : théâtralité d'une langue des gestes." Paris, EPHE, 2013. http://www.theses.fr/2013EPHE5020.

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Cette étude se propose d’apporter des connaissances sur un sujet encore non exploré : la diversité du langage gestuel dans les arts scéniques du Kérala : le Kûtiyâttam (théâtre sanskrit) dont les origines remonteraient au début de notre ère, et le (théâtre dansé) qui y trouve ses origines. Ce texte fait la synthèse de mon expérience de praticienne et de chercheuse de ces deux arts, de notes personnelles, avec croquis et analyse de spectacles. La connaissance du sanskrit et du malayāḷam m’a ouvert l’accès aux entretiens directs avec des artistes de plusieurs générations et des érudits locaux, ainsi qu’aux textes sources pour mener une analyse du langage gestuel selon différents critères (théâtral, linguistique, esthétique). Cet ouvrage relie les gestes rituels aux gestes scéniques et participe à la réflexion sur rite et spectacle. Le thème de la théâtralité s’y développe suivant des catégories significatives établies selon des aspects techniques, linguistiques, stylistiques, poétiques ; avec une attention particulière à leurs traits symboliques, à leur grammaire et à leur pouvoir de suggestion ainsi qu’à l’intégration harmonieuse de la gestuelle dans le jeu de l’acteur. L’analyse théorique est soutenue par des illustrations photographiques et graphiques faites par mes soins. Cette thèse est le troisième volet d’une recherche entreprise dès 1985. Maîtrise en Études Indiennes (2000) : « Traduction commentée de la Hastalakshanadîpikâ manuel de mudrā en sanskrit », seule traduction critique en langue française de ce texte, daté du IXe siècle. DEA en Études Indiennes, (2002) : « Genèse et mise en application d’une grammaire gestuelle dans les théâtres Kūṭiyāṭṭam et Kathakali », analyse approfondie de la mise en oeuvre de ce manuel, grâce à un texte ancien rédigé en malayāḷam, encore utilisé aujourd’hui pour l’apprentissage du (Rāmāyaṇasaṃkṣēpam « rāmāyaṇa en résumé ») dont j’ai assuré la traduction et l’analyse détaillée
The purpose of this thesis is to gain an in depth undertanding of an unexplored area : the diversity of the sign language in Kerala’s theater : the Kutiyattam (Sanskrit theater), whose roots are traced to the earliest days of our era, and the Kathakali (dance-drama), whose origin lie in it. This work combines my experience as a dancer and a researcher, personal notes, sketches and analysis of performances. My knowledge of Sanskrit and Malayalam allowed me to conduct interviews with performers and local scholars, and gave me access to the source texts to conduct a through analysis of the gesture language according to various criteria (theatrical, linguistic and aesthetic). I linked the ritual and performance gestures and contributed to global reflexion on the topic of ritual drama. I also introduce some of the fundemantal Malayalam texts related to hand gestures. The subject of theatricality is developped by drawign up various categories from several points of view, taking account such as technical, stylistic and other suggestive elements. Particular attention was paid to grammatical and symbolic aspects, and to their integration to gestures and performance. This project is the third part of my research undertaken since 1985, wich already resulted in two achievements : - In November 2000 I obtained a Master’s Degree in Indian Studies with the translation and commentary of the Hastalakshanadîpikâ, a Sanskrit treatise on hand gestures (mudrâ) used in both ancient theater forms of Kerala, Kâtiyâttam and Kathakali. - In my M. Phil Diploma I give a detailed analysis on hand gestures, based on an ancient text called Râmâyanasamkshêpam « Rama’s story in Résumé »
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Glynn, John Charles. "Kathakali: A study of the aesthetic processes of popular spectators and elitist appreciators engaging with performances in Kerala." University of Sydney. Performance Studies, 2001. http://hdl.handle.net/2123/834.

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This thesis looks at the diverse aesthetic approaches of onlookers to Kathakali, a traditional dance-drama extant in Kerala, India. Its particular contribution is based on fieldwork undertaken in the period 1991-93, especially in the districts of Trichur and Palghat, and distinguishes a continuum of two over-lapping broad groups: popular spectators and elitist appreciators who provide different, contesting voices in the interviews. The aesthetic processes of individuals within these groups of onlookers and the ways in which they may gradually change form the primary focus of this work. Respondents to interviews provide diverse descriptions of their interactions with performances according to their perceived membership to groups of popular spectators or elitist appreciators. They also identify dimensions of performance that may contribute to the development of their own performance competence and their subsequent transition from one group of onlookers to another. The influences that shape the diverse approaches of these groups and have been examined here include traditional Hindu aesthetics, religion, politics, caste structures and the changing shape of patronage, which is itself also a reflection of historical factors of governance. Kathakali is first presented as vignettes of performance that reflect different locations, venues, patronage and program choices. It is then situated in relation to extant, contiguous performance genres that have contributed to its development and/or often share its billing in traditional settings. The politics and aesthetics of the worlds of Kathakali are looked at not only in terms of their traditional, folkloric and classical development but also in contrast to more contemporary, secular and controversial dynamics that are impacting upon Kathakali today.
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Postma, Gayle, Reinder J. Klein, Stuart Williams, and Calvin Seerveld. "Perspective vol. 24 no. 6 (Dec 1990)." 2013. http://hdl.handle.net/10756/251296.

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Postma, Gayle, Reinder J. Klein, Stuart Williams, and Calvin Seerveld. "Perspective vol. 24 no. 6 (Dec 1990)." 1990. http://hdl.handle.net/10756/277626.

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Books on the topic "Kathakali"

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Dev, Ramchandra. Kathakali. [s.l.]: [s.n.], 1990.

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Zarrilli, Philli. Kathakali Dance-Drama. London: Taylor & Francis Inc, 2004.

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Pandeya, Avinash C. The art of Kathakali. New Delhi: Munshiram Manoharlal Publishers, 1999.

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Boner, Alice. Alice Boner on kathakali. [Varanasi?: Alice Boner Foundation?], 1996.

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India), Asiatic Society (Calcutta, ed. Kathakali, the dance theatre. Calcutta: Asiatic Society, 1999.

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Pilaar, Agatha Jane. Kathakali plays in English: Librettosin English verse for twelve Kathakali plays. (Kottayam, Kerala?): A.J. Pilaar, 1993.

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Namputirippāṭ, Kiḷḷimaṅgalaṃ Vāsudēan. Kathakaliyuṭe raṅgapāṭacaritr̲aṃ. Kozhikode: Mātr̥bhūmi Buks, 2013.

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Salvini, Milena. L' histoire fabuleuse du théâtre Kathakali à travers le Râmâyana. Paris: Editions Jacqueline Renard, 1990.

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Rājaśēkharan, Kalāmaṇḍalaṃ. Kaṭhakaḷiyile str̲īkaṭhāpātr̲aṅṅaḷ. Cheruthuruthy: Kēraḷa Kalāmaṇḍalaṃ Kalpitasarvakaḷāśāla, 2008.

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Rājaśēkharan, Kalāmaṇḍalaṃ. Kaṭhakaḷiyile str̲īkaṭhāpātr̲aṅṅaḷ. Cheruthuruthy: Kēraḷa Kalāmaṇḍalaṃ Kalpitasarvakaḷāśāla, 2008.

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Book chapters on the topic "Kathakali"

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Rawal, Mona. "Kathakali." In Hinduism and Tribal Religions, 1–4. Dordrecht: Springer Netherlands, 2018. http://dx.doi.org/10.1007/978-94-024-1036-5_287-1.

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Rawal, Mona. "Kathakali." In Hinduism and Tribal Religions, 762–64. Dordrecht: Springer Netherlands, 2022. http://dx.doi.org/10.1007/978-94-024-1188-1_287.

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Daugherty, Diane. "Women on the Classical Kerala Stage: The Kutiyattam and Kathakali Traditions." In The Palgrave Handbook of the History of Women on Stage, 585–615. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-23828-5_26.

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Richman, Paula. "Representations of Ravana in a Kathakali Piece and a Mythological Drama." In The Multivalence of an Epic, 268–89. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003456797-19.

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Malavath, Pallavi, and Nagaraju Devarakonda. "Classification of Kathakali Asamyuktha Hasta Mudras Using Naive Bayes Classifier and Convolutional Neural Networks." In Applied Computing for Software and Smart Systems, 131–44. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-19-6791-7_8.

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Punnamparambil, Jose. "Sakkaṟiya, Pōḷ: Sakkaṟiyayuṭe kathakaḷ." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_22351-1.

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"Transforming Kathakali." In Dionysus Resurrected, 186–205. Chichester, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118609774.ch08.

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"Kathakali, n." In Oxford English Dictionary. 3rd ed. Oxford University Press, 2023. http://dx.doi.org/10.1093/oed/2361395176.

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"part i performance in the kerala context." In Kathakali Dance-Drama, 31–114. Routledge, 2003. http://dx.doi.org/10.4324/9780203197660-5.

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"part ii plays from the traditional repertory." In Kathakali Dance-Drama, 115–90. Routledge, 2003. http://dx.doi.org/10.4324/9780203197660-6.

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Conference papers on the topic "Kathakali"

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BELLEAU, Sylvie. "The Otherness through Le rêve d’Urmila (Urmila’s Dream), an Interdisciplinary and Intercultural Research Creation Doctoral Project through Natyashastra." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0016.

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Abstract:
This communication will present how research creation based doctoral project can be an opportunity to explore the Otherness and other disciplines, to open to new realms of research as well as to question the artist’s posture in his journey between the culture of origin and the culture of the discipline in which he trains. As an apprentice, I studied kathakali in South India in my early twenties and it influenced all my theatre practice. The dance-theatre of Kerala has been part of my creative tools since the beginning of my creative life as a professional stage artist. My doctoral research was a way to question the footprint of the kathakali training in a creation project, to deepen my knowledge of Indian theatre and to explore the connections between kathakali, Natyasastra, the classical Indian treaty of dramaturgy, and my doctoral creation, Le rêve d’Urmila, which has been presented in September 2018 at Université Laval, in Quebec City. As part of my doctoral research on cultural hybridity, I had to train a group of western artists to dance and play with the codes of Indian dance to reach the level of cultural and disciplinary competence needed to produce the doctoral creation. I will thus present the specificities of the training process and expose the ways in which we explored various elements of the kathakali performance: the four abhinaya, rhythmic and musical elements, etc.
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Dhanapalan, Biju. "Capturing Kathakali: Performance capture, digital aesthetics, and the classical dance of India." In 2016 22nd International Conference on Virtual System & Multimedia (VSMM). IEEE, 2016. http://dx.doi.org/10.1109/vsmm.2016.7863197.

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Bhavanam, Lakshmi Tulasi, and Ganesh Neelakanta Iyer. "On the Classification of Kathakali Hand Gestures Using Support Vector Machines and Convolutional Neural Networks." In 2020 International Conference on Artificial Intelligence and Signal Processing (AISP). IEEE, 2020. http://dx.doi.org/10.1109/aisp48273.2020.9073398.

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