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Journal articles on the topic 'Kathakali'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Zarrilli, Phillip B. "Psychophysical Approaches and Practices in India: Embodying Processes and States of ‘Being–Doing’." New Theatre Quarterly 27, no. 3 (August 2011): 244–71. http://dx.doi.org/10.1017/s0266464x11000455.

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This essay articulates a South Asian understanding of embodied psychophysical practices and processes with a specific focus on Kerala, India. In addition to consulting relevant Indian texts and contemporary scholarly accounts, it is based upon extensive ethnographic research and practice conducted with actors, dancers, yoga practitioners, and martial artists in Kerala between 1976 and 2003. During 2003 the author conducted extensive interviews with kutiyattam and kathakali actors about how they understand, talk about, and teach acting within their lineages. Phillip Zarrilli is Artistic Director of The Llanarth Group, and is internationally known for training actors in psychophysical processes using Asian martial arts and yoga. He lived in Kerala, India, for seven years between 1976 and 1989 while training in kalarippayattu and kathakali dance-drama. His books include Psychophysical Acting: an Intercultural Approach after Stanislavski, Kathakali Dance-Drama: Where Gods and Demons Come to Play, and When the Body Becomes All Eyes. He is Professor of Performance Practice at Exeter University.

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12

Awasthi, Suresh. "The Intercultural Experience and the Kathakali ‘King Lear’." New Theatre Quarterly 9, no. 34 (May 1993): 172–78. http://dx.doi.org/10.1017/s0266464x00007752.

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The idea of merging western and Indian performing traditions through the performance of King Lear by a Kathakali company promised to be a viable experiment in intercultural practice – yet it proved entirely alien to Indian audiences initiated in Kathakali, and baffling when brought before the cosmopolitan throngs of the Edinburgh Festival. Here, Suresh Awasthi, former chairman of the National School of Drama in Delhi, analyzes the misconceptions which, in his view, fatally flawed the production – setting it within the context of its parent performance tradition, which permits development and change within a framework of basic thematic stability, but is unable to appropriate new texts. When, as in this case, the attempt is made, what results is a mistranslation of performance codes between two cultures. In the course of his argument, Suresh Awasthi provides a useful summary and analysis of traditional Kathakali conventions, and in conclusion describes some productions from the ‘classical avant-garde’ which have successfully explored an intercultural approach without detriment to either of the traditions involved.

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13

Daugherty, Diane, and Marlene Pitkow. "Who Wears the Skirts in Kathakali?" TDR (1988-) 35, no. 2 (1991): 138. http://dx.doi.org/10.2307/1146093.

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14

Praveen, Krishna, and V. Anitha Devi. "Kathakali: The Quintessential Classical Theatre of Kerala." Cultura 13, no. 2 (January 1, 2016): 19–26. http://dx.doi.org/10.3726/b10729_19.

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15

Vanderstoel, Graeme. "Charudattam (Kathakali Julius Caesar) (review)." Asian Theatre Journal 28, no. 2 (2011): 569–72. http://dx.doi.org/10.1353/atj.2011.0022.

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16

Wolf, Richard K., Satvikam Kalasadanam Troupe, Purisani Troupe, Kondapura Troupe, Maison des Cultures du Monde, Françoise Gründ, and Francoise Grund. "Southern India. Dance Dramas: Kathakali, Teru Koothu, Yakshagana." Yearbook for Traditional Music 34 (2002): 215. http://dx.doi.org/10.2307/3649210.

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17

Pitkow, Marlene. "Putana's Salvation in Kathakali: Embodying the Sacred Journey." Asian Theatre Journal 18, no. 2 (2001): 238–48. http://dx.doi.org/10.1353/atj.2001.0020.

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18

Powers, Seth. "Tasteful screams: Sense, nonsense and Kathakali vocal performance." Indian Theatre Journal 1, no. 2 (October 1, 2017): 135–46. http://dx.doi.org/10.1386/itj.1.2.135_1.

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19

Raina, Arjun. "The art of creating a Kathakali performer’s ‘Presence’." Theatre, Dance and Performance Training 6, no. 3 (September 2, 2015): 323–38. http://dx.doi.org/10.1080/19443927.2015.1068216.

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20

Zarrilli, Phillip B., and David E. R. George. "India: Three Ritual Dance-Dramas (Raslila, Kathakali, Nagamandala)." Asian Theatre Journal 6, no. 1 (1989): 95. http://dx.doi.org/10.2307/1124296.

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21

Menon, Vishnu Achutha. "Kathakaliyude Kaipusthakam (A Handbook of Kathakali) by Vellinezhi Achuthankutty." Asian Theatre Journal 37, no. 2 (2020): 602–3. http://dx.doi.org/10.1353/atj.2020.0050.

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22

Valverde, Jaime. ""Yuri Sam: Otoitza": Sorginaren berpiztea." Euskera ikerketa aldizkaria 57, no. 3 (November 30, 2013): 761–99. http://dx.doi.org/10.59866/eia.v57i3.182.

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Artikulu honetan Yuri Sam: Otoitza (2003) antzezlana aztertzen da, Ander Lipus eta Antzerkiola Imaginarioaren obrarik adierazgarriena. Yuri Sam Noh teatroa, Kathakali, Baliko dantzak eta maputxeen zeremoniak euskal sustraiekin nahasiz sorturiko xamana dugu; heriotzatik bueltatzen dena bizitza aldarrikatzeko erritu baten bidez. Antzerti antropologiaren eragina duen obra hau teatroa ulertzeko modu iraultzaile baten isla da eta azken urteotako euskal antzezlanik interesgarrienetakoa dugu.

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23

Debrois Castro, Marion Bastiana. "Interculturalidad, world music y gestión de patrimonio musical en espectáculos musicales: un acercamiento a la Fundación Casa de la India de Valladolid." Indialogs 10 (April 12, 2023): 73–91. http://dx.doi.org/10.5565/rev/indialogs.236.

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El presente artículo pretende ser un acercamiento a las actividades musicales de la Fundación Casa de la India desde una perspectiva musicológica. Para ello se han seleccionado cuatro de sus actividades musicales y se han estudiado aplicando teorías y metodologías provenientes de disciplinas como la etnomusicología, antropología, sociología y estudios culturales y, en especial, cuestiones vinculadas a la interculturalidad, los estudios sobre la world music y la gestión del patrimonio musical. La recogida de información se llevó a cabo mediante la realización de entrevistas a los directores de Casa de la India y la consulta de diversas fuentes bibliográficas (libros, manuales, artículos científicos, memorias de Casa de la India, páginas web oficiales de este centro cultural, artistas y demás entidades culturales involucradas en las actividades estudiadas). Las cuatro actividades seleccionadas fueron: “India en Concierto”, un festival de conciertos y espectáculos de música y danza clásicas de la India; “Flamenco, India”, un espectáculo que combina números de flamenco y diferentes danzas clásicas indias; “Rasa y Duende”, donde se mezclan técnicas de artes escénicas indias y del flamenco y poesía de Lorca; y, finalmente, “Kijote Kathakali”, una adaptación teatral de Don Quijote al lenguaje de la danza-teatro kathakali.

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24

chatterjea02, Ananya. "Kathakali Dance-Drama: Where Gods and Demons Come to Play." Theatre Journal 55, no. 3 (2003): 556–58. http://dx.doi.org/10.1353/tj.2003.0099.

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25

Shankar, Karin. "Tracing minor gesture in Maya Krishna Rao’s kathakali-influenced performance." Women & Performance: a journal of feminist theory 29, no. 2 (May 4, 2019): 125–45. http://dx.doi.org/10.1080/0740770x.2019.1621604.

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26

Raina, Arjun. "Rasa revisited as the Kathakali actor's taste of aesthetic pleasure." Theatre, Dance and Performance Training 10, no. 1 (January 2, 2019): 113–26. http://dx.doi.org/10.1080/19443927.2018.1559877.

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27

By, Produced, VM Sreelakshmi, and Lakshmi Mohan. "Sapamochanam (The Curse Liberation), A Kathakali Play by Sadanam Harikumar." Asian Theatre Journal 40, no. 2 (September 2023): 306–25. http://dx.doi.org/10.1353/atj.2023.a912918.

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Abstract: This play is a new interpretation of Urvashi and Arjuna from the epic Mahabharata . Immortal Urvashi of heaven was the life partner of mortal emperor Pururavas of earth, Arjuna’s fortieth ancestor. The story is that Urvashi, assigned to be an eternal virgin who was denied motherhood, experiences the bliss of motherhood because of Arjuna. Indra, Arjuna’s father, has brought him to heaven so that he might annihilate Indra’s enemies. Urvashi, who has fallen in love with Arjuna, approaches him for love but is rejected by Arjuna. Urvashi curses Arjuna to become a eunuch. Arjuna, who has realized that Urvashi was Pururavas’ wife, tells her in despair that she is no different from his biological mother Kunti and his stepmother Indrani, Indra’s wife. Urvashi’s dormant motherhood bursts forth as she hears this. At the end of the story, Urvashi embraces Arjuna with maternal love, lays him on her lap, and sings a lullaby. Arjuna and Urvashi are the protagonists of this play. The other characters include Urvashi’s two friends and two nymphs who appear in the interlude.

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28

Sarwal, Amit. "Louise Lightfoot and Ibetombi Devi: The Second Manipuri Dance Tour of Australia, 1957." Dance Research 32, no. 2 (November 2014): 208–32. http://dx.doi.org/10.3366/drs.2014.0107.

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Manipur, a small state in the North-Eastern India, is traditionally regarded in the Indian classics and epics such as Ramayana and Mahabharata as the home of gandharvas (the celestial dancers). Manipuri is one of the eleven dance styles of India that have incorporated various techniques mentioned in such ancient treatises as the Natya Shastra and Bharatarnava and has been placed by Sangeet Natak Akademi within ‘a common heritage’ of Indian classical dance forms (shastriya nritya): Bharatanatyam, Kathak, Kathakali, Kuchipudi, Manipuri, Mohiniyattam, Odissi, Sattriya, Chhau, Gaudiya Nritya, and Thang Ta. In the late-1950s Louise Lightfoot, the ‘Australian mother of Kathakali,’ visited Manipur to study and research different styles of Manipuri dance. There she met Ibetombi Devi, the daughter of a Manipuri Princess; she had started dancing at the age of four and by the age of twelve, she had become the only female dancer to perform the Meitei Pung Cholom on stage––a form of dance traditionally performed by Manipuri men accompanied by the beating of the pung (drum). In 1957, at the age of 20, Ibetombi became the first Manipuri female dancer to travel to Australia. This paper addresses Ibetombi Devi's cross-cultural dance collaboration in Australia with her impresario, Louise Lightfoot, and the impression she and her co-dancer, Ananda Shivaram, made upon audiences.

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29

Gomes, Ricardo Carlos, and Priscilla de Queiroz Duarte. "A Dramaturgia do Corpo no Teatro Indiano como Visível Poesia." Revista Brasileira de Estudos da Presença 7, no. 1 (April 2017): 154–83. http://dx.doi.org/10.1590/2237-266063654.

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Resumo: No presente artigo, discute-se o conceito de dṛśya kāvya (visível poesia) da tradição cênica indiana como proposta de dramaturgia do corpo. Partindo do impacto que as tradições cênicas asiáticas provocaram no teatro europeu no século XX, são analisados alguns conceitos e técnicas de atuação do teatro-dança clássico indiano (em particular, Orissi e Kathakali), baseadas na tradução da palavra em gesto corporal. Questiona-se também a relevância dessa discussão para um teatro que busca distanciar-se de um modelo logocêntrico, numa perspectiva intercultural.

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30

Pitkow, Marlene. "Kathakali Dance-Drama: Where Gods and Demons Come to Play (review)." Asian Theatre Journal 19, no. 2 (2002): 378–82. http://dx.doi.org/10.1353/atj.2002.0039.

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31

Daugherty, Diane. "The Pendulum of Intercultural Performance: Kathakali King Lear at Shakespeare's Globe." Asian Theatre Journal 22, no. 1 (2005): 52–72. http://dx.doi.org/10.1353/atj.2005.0004.

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32

Hwang, Seok-Ha. "A Study on Peter Brook"s Acceptance and Utilization of Kathakali." Journal of the Korea Entertainment Industry Association 17, no. 4 (June 30, 2023): 215–25. http://dx.doi.org/10.21184/jkeia.2023.6.17.4.215.

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33

Viswanathan, Kaladharan. "Kerala Kalamandalam: A legacy revisited." Indian Theatre Journal 7, no. 1 (June 1, 2023): 17–35. http://dx.doi.org/10.1386/itj_00032_1.

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The performance landscape of Kerala is diverse, and its history hails the glory of Kutiyattam, the sole surviving Sanskrit theatre tradition in India; Kathakali, the classical dance-drama; and Mohiniyattam, an exclusive female dance form. This is in addition to a huge variety of ritual and folk performance forms all over the region. While the first onstage recital of Kutiyattam performance and the subsequent development of its aesthetics and criticism date back to tenth and eleventh century AD, the entire Kathakali repertory originated and developed in the seventeenth century. On the other hand, Mohiniyattam seems to have originated even later. As a residential training centre for traditional performing arts in Kerala, Kalamandalam facilitated intense and uninterrupted communications amongst the top-ranking artists of various art forms. The Second World War had its devastating effects on the cultural institutions in India in general, and Kalamandalam in particular. Then, the Department of Education, Government of India, took over the administration of Kalamandalam. In 1976, Kalamandalam became a grant-in-aid institution under the Charities Registration Act and started functioning under a General Council and Executive Board constituted by the Government of Kerala. In 2006, Kalamandalam was deemed to be a university, functioning under the Cultural Affairs Department, Government of Kerala. The main objective of the institutional transformation was to combine practical training in different performing arts at the academic level. Several groups of students are now coming out of Kalamandalam every year after successfully completing their graduate and postgraduate programmes. Advanced training programmes are held at the Nila Campus in Cheruthuruthy, while the undergraduate courses are offered at the sprawling Vallathol Nagar Campus.

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34

Viana, Fausto, and Rosane Muniz. "Figurino: traje de cena: um negócio na (da) China." dObra[s] – revista da Associação Brasileira de Estudos de Pesquisas em Moda 6, no. 13 (January 24, 2013): 36. http://dx.doi.org/10.26563/dobras.v6i13.134.

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Não é de hoje que o teatro do Ocidente busca inspiração no teatro oriental. Da Índia, vieram as fortes apresentações de Kathakali e outras formas antigas de teatro e dança. Isso sem contar a febre dos filmes de Bollywood, que inspiraram obras como o filme Moulin Rouge (2001). Do Japão, os conhecidos e respeitados teatros Nô, Kabuki, Kyogen e o teatro de bonecos Bunraku, além de outras tendências mais contemporâneas, como o Butô, do qual Kazuo Ohno é o representante máximo. Do cinema japonês, é impossível não citar Akira Kurosawa (1910-1998) e obras dirigidas por ele, como Rashomon (1950), Os Sete Samurais (1954), Sonhos (1990) e Madadayo (1993) (...)

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35

Emmert, Richard. "Training of the Nō Performer." Theatre Research International 12, no. 2 (1987): 123–33. http://dx.doi.org/10.1017/s0307883300013468.

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Japanese nō is a complex theatrical form, as most Japanese including nō performers themselves will often say. The nō performer must undergo years of training before he will be recognized as an ‘adult’ among other nō performers. But this feature in itself is common to many other performing art forms throughout the world. In terms of pure performing technique, in fact, the physical demands of nō are probably not as great as many other Asian genres – such as kathakali, for example, which demands extensive training to master its complex eye, face and hand techniques, or Peking opera, which requires an often highly acrobatic body control of its performers.

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36

Dhanapalan, Biju. "Kathakali and Motion Capture: An Experimental Dialogue between Indian Classical Dance and Technology." International Journal of New Media, Technology and the Arts 13, no. 1 (2018): 15–24. http://dx.doi.org/10.18848/2326-9987/cgp/v13i01/15-24.

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37

Lee, KyuRi, and Ji Won Kim. "A Theoretical Study on the Expression of Emotional Expression in Kathakali and Apsara." Korean Society for Science of Eastern Art, no. 35 (May 30, 2017): 164–95. http://dx.doi.org/10.19078/ea.2017.35.7.

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38

Ribeiro, Almir. "Deuses e marionetes: Kathakali, teatro dança clássico da Índia e seus delicados diálogos." Sala Preta 13, no. 1 (June 19, 2013): 83. http://dx.doi.org/10.11606/issn.2238-3867.v13i1p83-110.

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39

LOUKES, REBECCA. "Phillip Zarrilli's Knowledges: ‘About’, ‘In’, ‘For’." Theatre Research International 45, no. 3 (October 2020): 351–53. http://dx.doi.org/10.1017/s0307883320000383.

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There are recurring themes in Zarrilli's long career of writing about the processes of performance, and his most recent book (Toward) A Phenomenology of Acting (2020) brings together these concerns in what could be seen as a culmination of his life's work – dissolving the boundaries between the studio, the stage and the theorization of these processes. We could look briefly over the entirety of his written contribution to theatre research – from his meticulous studies of kalaripayattu and kathakali dance drama, to his groundbreaking edited collection Acting (Re)considered and the innovative co-authored Theatre Histories to his monograph Psychophysical Acting (which won the ATHE Outstanding Book of the Year Award), as well as numerous other reflections on training and performance.

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Nair, Sreenath. "Sreenath Nair with Neena Prasad." Indian Theatre Journal 7, no. 1 (June 1, 2023): 7–15. http://dx.doi.org/10.1386/itj_00033_7.

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Dr Neena Prasad is a leading dancer and scholar of Mohiniyattam. Proficient in Mohiniyattam, Bharatanatyam, Kuchipudi and Kathakali, she is a leading disciple of Kalamandalam Sugandhi and Padamsri Kalamandalam Kshemavathy. She has recently received the presidential award for overall contribution to Indian classical dance. In this conversation she speaks about the philosophy and techniques of her art, the ways in which it carved out the niche for herself as one of the most talented and reliable dancers in India. For Prasad, dance is the only truth and the essence that makes her existence as an artist. This conversation is an archive, the archive that shows the journey of a dancer from her formative period to the level of mastery of the art through continuous research and practice.

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Wong, Forest. "Cover Art." Columbia Journal of Asia 1, no. 2 (December 9, 2022): i. http://dx.doi.org/10.52214/cja.v1i2.10312.

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Artist Statement: I read through the abstracts and the creative pieces and what stood out to me were ideas of revolution, identity, progress, and change. I came up with the design by drawing purely from the aesthetic aspects of different theater traditions in Asia. For example, I looked at makeup styles from Kathakali and Kabuki, pattern designs from Wayang Kulit, and costuming from JingJu. This decision was made as a way to create something that people could identify as having Asian elements but not specific to any one country. The decision to include the fire is to communicate this idea of change/revolution and how that intersects with identity. Forest Wong, the artist, can be found on Instagram @forestwongart or at https://forest_wong.artstation.com/.

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Worthen, W. B. "Shakespeare and Postmodern Production: An Introduction." Theatre Survey 39, no. 1 (May 1998): 1–5. http://dx.doi.org/10.1017/s0040557400002982.

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This issue of Theatre Survey explores the condition of postmodern Shakespeare production, and by implication the situation of classic drama on the horizon of the contemporary stage. Working on this issue has been, for both of its coeditors, a surprising experience. Theatre Survey is a distinguished journal in the field of theatre history and historiography, and with this issue we intended to press the journal's agenda toward the history and theory of contemporary culture, generating a series of articles on radical, revisionist, and alternative ways of putting “the ‘classics’ into play.” Because we understand this enterprise—from the Kathakali King Lear to Robert Wilson's When We Dead Awaken to Heiner Müller's Medeamaterial to Baz Luhrmann's William Shakespeare's Romeo + Juliet—to stand in a strategic relation to modernity, we were calling the issue “Performance: Modern and Postmodern.”

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Jiménez Draguicevic, Pamela, and Diego Carrasco Espinoza. "Por amor al teatro. Una entrevista a Eugenio Barba y a Julia Varley." Revista Anales, no. 60 (December 17, 2021): 73–80. http://dx.doi.org/10.18537/auc.60.07.

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Tenemos el honor de entrevistar a Eugenio Barba ha marcado la cultura teatral de la segunda mitad del siglo XX. Se formó con Jerzy Grotowski, en el “Teatro de las 13 filas” y viajó por India para estudiar el teatro Kathakali. En 1964 fundó el Odin Teatret, con sede en Holstebro (Dinamarca), un laboratorio escuela, y una de las compañías más influyentes en la evolución del teatro europeo de finales del siglo XX. En 1979 fundó la Escuela Internacional de Antropología Teatral, la cual abrió un nuevo campo de estudio: la Antropología teatral. Autor de obras de referencia, como “El arte secreto del actor” o “La Canoa de Papel. Tratado de Antropología Teatral” le han sido concedido numerosos premios y reconocimientos, y doce Doctorados honoris causa. Eugenio Barba es una personalidad central del teatro contemporáneo, y ha sido definido como uno de los últimos grandes maestros vivos del teatro occidental.

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Franz, Dr Milon, and Reethi P. "Travel Brochures as Constructs and Commodities." SMART MOVES JOURNAL IJELLH 7, no. 11 (November 28, 2019): 7. http://dx.doi.org/10.24113/ijellh.v7i11.10100.

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The paper is an attempt to analyse the photographs in the travel brochures. The brochures created by the Kerala Government are considered as sample for analysis. The photographs used in creating the brochures are to attract the targeted travellers from other countries, so it will be shown as the best representation of a place. The photoshopped images of Kathakali, rain forests and backwaters are not the real pictures of the place which becomes the prominent pictures on the Travel Brochures every year. Some latest photos are of Theyyam and the traditional Hindu art forms. The pictures are the representation of perspectives, it focuses on what we need to see and show. Photography is a deliberate attempt to show the unreal conditions and building a “reality” out of gaze. The earlier postcolonial representations of human beings are shifted to the exotic representation of nature and art forms which are exploited.

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Lueraj, Patcharaporn. "Chutti Classroom: The Experience in reflecting on the Learning of Kathakali Chutti (Makeup) at Kerala Kalamandalam." Psychology and Education Journal 58, no. 1 (January 29, 2021): 1523–26. http://dx.doi.org/10.17762/pae.v58i1.940.

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The paper is a part of ongoing PhD research. The purpose of this study was to explore the hand on learning of craft practice which were Kathakali chutti (makeup) and costumes making by employing the tacit theory of Harry Collin: relational tacit knowledge, somatic knowledge, and collective knowledge into analysis process and discussion. The data collection was through immersive learning as a deep study by immerse self to practice and to learn with students at Kerala Kalamandalam. The result of exploration indicated that while the learning of younger students may be through emulation and repetition, the practitioner's knowledge is gained through self-conscious means of logical thinking and mathematic approximation, gaining the somatic tacit knowledge that the teacher has. Also, collective tacit knowledge is relevant, because during interacting with cultural background and society, it is very different from the practitioner's previous experience, and yet through the immersive experience, the practitioner is able to gain the knowledge and skills not otherwise available to an outsider

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Alaniz, Leela (Sirlei). "O MIMO CORPÓREO DE ÉTIENNE DECROUX E A BUSCA DA EXPRESSIVIDADE SEGUNDO A PERSPECTIVA DE ARTIFICIALIDADE GROTOWSKIANA." Cena, no. 23 (November 23, 2017): 194. http://dx.doi.org/10.22456/2236-3254.72761.

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De acordo com Jerzy Grotowski: “Nós podemos realmente analisar cada fenômeno ritual ou teatral, observando em cada um a predominância daquilo que é orgânico e daquilo que é artificial.” Grotowski define sua própria pesquisa do trabalho do ator como uma pesquisa orgânica. Paralelamente ele define o teatro oriental, sobretudo a Ópera de Pequim, o Teatro Nô japonês e o Kathakali do sul da Índia como abordagens artificiais, considerando que cada uma dessas formas nasce de um modelo estruturado, e não da busca dos impulsos internos do ator.O Mimo Corpóreo de Étienne Decroux parece se encaixar na linhagem artificial, além de outras características, tanto pela exigência de um longo período de treinamento técnico junto a um mestre ou professor, como pela ausência de engajamento emocional que o ator deve manter em relação à ação.É possível que o trabalho desenvolvido por Decroux seja classificado como parte da linhagem artificial, tal como definida por Grotowski, à qual ele inclui as formas de teatro tradicional asiático?

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BHARUCHA, RUSTOM. "For Phillip: Remembering a Friend." Theatre Research International 45, no. 3 (October 2020): 358–61. http://dx.doi.org/10.1017/s0307883320000401.

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It is going to take some time for me to fully accept that Phillip Zarrilli is no more. Phillip, as I knew him as a friend, continues to live in my mind's eye with memories of ceaseless conversations, exchanges of letters and interactions in different parts of the world. Just three months before his death on 28 April 2020, we had met in Kerala, his second home, in the town of Kunnamkulam, where we had watched a high-voltage, virtuoso performance of the Kathakali play Duryodhanavadham (The Killing of Duryodhana) by the Kerala Kalamandalam troupe, which we thoroughly relished. I have rarely seen Phillip more relaxed and happy as I remember him in Kunnamkulam. While he was, in all probability, aware that this was going to be his last trip to Kerala, he was making the most of it, reminding us that he had come full circle by returning to the state which had nurtured his initiation into the martial arts tradition of kalarippayyattu.

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Thomas, Sanju. "The Moor for the Malayali Masses: A Study of "Othello" in "Kathaprasangam"." Multicultural Shakespeare: Translation, Appropriation and Performance 13, no. 28 (April 22, 2016): 105–16. http://dx.doi.org/10.1515/mstap-2016-0008.

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Shakespeare, undoubtedly, has been one of the most important Western influences on Malayalam literature. His works have inspired themes of classical art forms like kathakali and popular art forms like kathaprasangam. A secular story telling art form of Kerala, kathaprasangam is a derivative of the classical art form, harikatha. It was widely used to create an interest in modern Malayalam literature and was often used as a vehicle of social, political propaganda. The story is told by a single narrator who masquerades as the characters, and also dons the mantle of an interpreter and a commentator. Thus, there is immense scope for the artist to rewrite, subvert and manipulate the story. The paper explores V. Sambasivan’s adaptation of Othello in kathaprasangam to bring out the transformation the text undergoes to suit the cultural context, the target audience and the time-frame of the performance. The text undergoes alteration at different levels—from English language to Malayalam, from verse to prose, from high culture to popular art. The paper aims at understanding how a story set in a different time and distant place converses with the essential local milieu through selective suppression, adaptation and appropriation.

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Megha Rani Raigonda and Ambika. "Classical Dance Hand Gesture Recognition using Image Processing and Deep Learning." February 2023 9, no. 02 (February 28, 2023): 177–83. http://dx.doi.org/10.46501/ijmtst0902032.

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Recognition of Dance posture & hand gesture in dance is most important. To get the exact names of these mudras some expertise should be there. So without expertise our proposed system recognizes the dance posture and hand geture. Indian classical dance traditionally performed as an expressive show dance type of strict execution workmanship, connected with Vedic writing. It's likewise a method of articulation of inward sentiments, assisting with creating self-conviction and fearlessness. Significance of old style dance is the activity of the whole self. Due to picture names, picture quality, uneven dataset and pixels values the accuracy is not good. So our proposed system implies the CNN and Deep Learning algorithm to recognizes the Dance posture and Hand gesture. Our system is used for all users who are interested in dance. Without a teacher can get the dance posture details. Introduced here Kathakali and Bharatnatyam Hand Mudras. Referred Kaggale site for dataset and also we added our own dataset. Each image recognizes the proper name and gives in the form sound also of Hand Mudra. Gaussian algorithm is used for more accuracy purpose.

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Nair, Sreenath. "Editorial." Indian Theatre Journal 7, no. 1 (June 1, 2023): 3–5. http://dx.doi.org/10.1386/itj_00031_2.

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The present issue of the Indian Theatre Journal (ITJ) is an attempt to showcase the current research in the field of Indian performing arts to bring together some glimpses of traditional performance scholarship and the ways in which that interacts with contemporary demands. There are two articles on Kerala Kalamandalam, the internationally acclaimed Kerala’s traditional centre for performing arts. The articles feature the origin and development of the institution, the ways in which the centre became the nucleus of traditional performing arts in the region including recent experiments in the traditional performing arts scene in Kerala. Moreover, the article about the Purulia Chhau attempts to raise the argument that the Indigenous performances have not opened to accommodate the ‘woman’s space’ within its practice. The article on performative experience in Kathakali’ asks some valuable questions about the creative nature of the art of acting: what is the nature of the psychophysical process involved in a performance? At what degree and level this complex process has been understood and theorized? Above all, the exceptional interview with Neena Prasad, a prolific young dancer who received the presidential award for the overall contribution to Indian classical dance, is another highlight of the issue.

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