CHAPTER I

ABHINAYA TECHNIQUES IN

KUTTU AND KUTIYATTAM

India has a deep rooted and vast tradition of Natya. The

Natya texts like Natyasastra of Bharata, Abhinayadarpana of

Nandikesvara, Hastalaksanadipika of an anonymous author, the

dramas by Bhasa, Kalidasa, SrJharsa, Bhavabhuti, Bhattanarayana

and SOdraka and Dasarupakas and Uparupakas meant for staging

models etc. highlight the depth of Natya tradition in India.

Kerala too has contributed in a large scale to the tradition of

visual arts of India. TapatJsamvarana and Subhadradhanahjaya of

Kulasekhara are two prominent plays among the contributions of

Kerala to the Sanskrit theatre. Balaramabharata by Karttika Tirunal

Maharaja, a Keralite, is an authentic text on Natyasastra.

Nataiikusa, a work namely criticize the abhinaya of the actor in

kutiyattam stage is a noteworthy contribution of Kerala in this

regard.

Kerala is rich with Natya in folk forms too and it can be

experienced in the wide range of performing arts like Kuttu,

Kutiyattam, Krsnanattam, Kathakali, Ottantullal, Teyyam, Patayani,

Mutiyettu, Porattu plays etc. Majority of these visual arts are

staged in temples. The kuttambalam, kalittattu (stages), Kuttu

theatre complexes are well preserved in major temples even today

and programs are often performed there. As part of the festival

celebrations temporary stages are arranged in each and every

temple. The visual arts which are significant for their abhinaya

possibilities find their places in these stages.

Abhinaya

Abhinaya^ refers to the artistic representation of objects and

feelings of the real world and is an important aspect of enacting.

Ornaments, costumes, wigs, artificial mustache and beard,

rose powder, facial make-ups, and masks, special effects lighting

of different colours and intensity, different types of curtains,

dialogues, digital sound effects, body language, gestures, tears

and other facial expressions as reflections of mental states are

some of the effective tools employed by artists to present the

emotions and other things on the stage.

In the Natyasastra, the fundamentals of Natya have been

enumerated as Natya Sahgraha.^ It contains 13 items. They are

1. Natyasastra I. 85.
2. Ibid., 6.9-10. Ed. by Vijayan K., Kerala Sahitya Academy
Publications, Thrissur, 1997.
rasa, bhava, abhinaya dharmJ, vrtti, pravrtti, siddhi, svara, atodya,

gana, prakrti, upacara, and mandapa. Of these the third one is

abhinaya. It has been defined as

abhiniyate anena iti abhinayah

Abhinaya means bringing the ennotional state of the

character to the audience.

Agnipurana defines abhinaya as:

abhimul<hyam nayannarthan vijneyo 'bhinayo budhaili/

Four types of Abhinaya

According to Bharata^, abhinaya is of four types, viz., ahgii<a,

vacil<a, aharya and satvil<a. Prayers in honour of Lord Siva found in

Sarahgadeva''s Sahgitaratnal<ara and Nandi(<esvara''s Abhinaya-

darpana mention all the four types of abhinaya.

ahgii<am bhuvanam yasya

vacif<am sarvavahmayam/

aharyam candrataradi

tarn numassatvil<am sivam//^

3. Hari Sarma N. D., Natakapravesika, p. 96.

4. Natyasastra. 7.7.
5. Abhinayadarpana 1.
To a question raised by Atreya and ottners about tlie origin of tine

word abhinaya, Bharata defines it as 'that which transmits

l<avyartha to the audience'.

Angika

Abhinaya using major as well as minor limbs of the body and

hand gestures {Mudra-s) is referred to as ahgif<abhinaya. In other

words it is abhinaya using the body, face and facial expressions.

Abhinayadarpana defines ahgil<a as the abhinaya using

ahgas {i.e. Limbs). Among the limbs eyes and fingers are the most

important. Once the body is covered with clothes and the face with

colours, what is left out is only the eyes and the fingers.

Ahgikabhinaya is also known as sai<ha.^

The enchanting ahgil<abhinaya of l\/laiavika has been

described by the poet thus:

ahgairantarnihitavacanaiii sucitati samyagarthah

paadanyaso iayamanugatastanmayatvam rasesu/

sai<hayonirmfdurabhinayastadvii<aipanuvrttau

bahavo bhavam nudati visayadragabandhah sa eva//

6. Sankunni Nair. M. P., Natyamandapam 146.

7. l\/lalavil<agnimitra 2.8.
Mudras

Hastabhinaya {i.e. abhinaya using the hands) has great

importance in ahgikabhinaya. Samyuta and asamyuta are two

distinct categories of hastabhinaya. Gestures made by a single

hand is referred to as asamyuta while those with both the hands is

referred to as samyuta. This categorization of hastabhinaya can be

found in Natyasastra as well. Bharata describes hastabhinaya in

Natyasastra using 192 verses.

Samyuta l-iastas are of 13 types as listed below:

1. Anjali 2. Kapota 3. Karlota

4. Svastil<a 5. Katal<avardhamana 6. Utsahga

7. Nisedha 8. Dola 9. Puspaputa

10. Mal<ara 11. Gajadanta }2.Avahitah

13. Vardhamana.

Asamyutahasta-s are of twenty four types as listed below:

1. Pataf<a 2. Tripatai<a 3. Kartarimul<ha

4. Ardhacandra 5. /Ara/a, 6. Suf<atunda

7. A/ftvsf/ 8. Sil<hara 9. Kapittha

10. Katakamul<ha 11. Sucimul<ha 12. Padmakosa

13. Sarpasira AA. Mrgasirsa 15. Kahgula

 16. Alipadma 17. Catura 18. Bhramara

A'^. Hamsasya 20. Hamsapaksa 2^.Samdasa

22. Mukula 23. Ornanabha 24. Tamracuda.^

Natyasastra contains reference to 29 Nrttahasta-s^ such as

caturamsa, udvrtta, etc. However, Abhinayadarpana^° is silent

about these Nrttahasta-s.

In the Natya, gestures {mudra-s) are used as a medium of

expression and also for interpretation of the verses. Gestures also

find a place in tantras laid out for conducting religious rituals.

According to Bharata, there cannot be an abhinaya without

gestures and these gestures are to be used taking into account the

locale [desa), time period [kala), custom (prayoga) and meaning

{arthaf\ Hastalaksanadipika by an unknown author explains

gestures in detail.^^

Netrabhinaya

Netrabhinaya {abhinaya using the eyes) is another integral

part of ahgikabhinaya. Bharata refers to netrabhinaya in the S^^

8. Rajendran C , Abhinayadarpanam, p. 20.

9. Natyasastra 9.4-6.
10. Rajendran C , Abhinayadarpanam, p. 22.
11. Natyasastra 9.141-143.
12. See Appendix 1 for asamyuta hastas in l-lastalaksanadipika,
p. 65-74..
chapter entitled uttamahgabhinaya. The basis of netrabhinaya is

the movement of the pupil of the eye. Abhinayadarpana states that

rasa comes out when there is union of hands, eyes, mind and

expression.

yato hastah tato drstih

yato drstistato manah/

yato manastato bhavah

yato bhavastato rasah//^^

Emotional expression {rasabhava) of the hand gestures

comes out through the eyes. It is stated in Balaramabharata^^ that

mind is the substratum for emotions and eyes give expression to

these emotions. This too is indicative of the relationship between

netrabhinaya and hand gestures {mudra-s). ekalocana, the

abhinaya wherein two different emotions are expressed at the

same time with the two eyes, is considered as the ultimate stage in

netrabhinaya.

Vacika

The main element of natya is the spoken word

{vaaMbhinaya). The other three aspects of abhinaya-ahgH<a,

13. Abhinayadarpana 2.247.

14. Balaramabharata 101.
aharya and satvika are used to express the meaning of the spoken

word. The actor should therefore, give special attention to the use

of words. Sastras are constituted by words and they exist in the

form of words^^. There is nothing beyond words, says Bharata.

Abhinaya using words is referred to as vacika .

Vacika used in rupaka is known as pathya (Prose); it is not

the same as geya.^^ The common name for the emotive

expressions {Bhavavyanjakadharma) of pathya is kaku. Kaku is the

core of Vacikabhinaya.

Conversation among actors and actresses, their shouts,

screams and cries are all part of vacikabhinaya.

Sambhasana
m m

Characters in a play may resort to different means effecting

vacikabhinaya. They can converse with another in front of them,

can blabber like a mad man in an unconnected fashion, can talk in

a mournful fashion, can repeat the same word over and over or

they may talk to one another in a 'question and answer' form. All

these are part of vacikabhinaya. These conversational

15. /Vafyasasfra 15.2,3.

16. Vacaviracitakavyanatakadistu vacika. Abhinayadarpanam, 38.
17. Natyamandapam, p. 156.
[sambhasana) techniques are described as samanyabhinaya by

Bharata in tine 24^^ clnapter of Natyasastra.^^

Alahkaras (metaphor or linguistic embellishments) and other

poetic devices like dhvani, vakrokti, upama etc. form an integral

part of vacikabhinaya.

The sum total of the stage, abhinaya etc. is known as vrtti.

bharativrtti is one where vacika has great importance.

Aharya

Aharya plays an important role in making an actor into the

character of the play. Headgears such as kirita, kundala, etc.,

dress and costume, face paint and masks, stage set up etc. are all

part of aharyabhinaya.

aharyo harakeyuravesadibhiralahkrtih/ ^ ^

Natyasastra also says that aharya is nothing but the

costumes and stage settings.^° The 23'^^ chapter of Natyasastra

discusses aharya in detail. Bharata suggests that ultimately the

tools used in aharya [natyopakarana) should be made based on

prevailing customs with application of the mind.

18. Natyasastra 24.49-62.

19. Abhinayadarpana 39.
20. Natyasastra 23.3.
 Normally aharya of an actor (Headgear, Costumes, Mask,

etc.) In any stage performance should follow the social practices

and customs. However, in such art forms like KOtiyattam,

KathakalJ, etc., in order to recognize whether a character is a hero

or an anti-hero, knowledge of the technical aspects of the art form

is essential. This is based on the distinctions made between

different sets of costumes {aharya) like pacca, katti, etc.

Satvika

Satvikabhinaya is defined as the abhinaya formed or created

by satvam. Satvam here refers to the mind. Hence satvikam is the

abhinaya originating from the mind.

When an actor imbibes the different states of mind or

emotions of the character and conveys them to the audience

through his abhinaya, it is becomes satvikabhinaya.

The satvikabhava-s (which can be taken generally as

involuntary evidence of internal feeling) are specified as eight in

number viz. stambha (stupefaction), sveda (sweating), romahca

(horripilation), svarabhahga (break of voice), vepathu (trembling),

vaivarnya (loss of colour), asm (weeping) and praiaya (fainting).

10
a. Stambha (Stupefaction)

Stupefaction is the loss of sensibility of all the limbs due to

fear, ecstatic joy, etc. Thus:

Let the victorious glances of the timed-eyed girl increase

your prosperity, the glance at the fall of which, young man become

stupefied wherever they are as if nailed down.

b. Sveda (Sweating)

Sweating is oozing of fluid from the body due to passion,

heat, exhaustion, etc. Thus:

The drops of perspiration due to figure become an ornament

to the beautiful girl on producing horripilation on the blossoms

smeared with fragrance, and shining like pearls on the face from

which the tilaka mark has disappeared. To those who are beautiful

even the distortions enhance the beauty.

c. Romanca (Horripilation)

Horripilation is the state in which the hair-stand on end on

account of fear, passion, etc. Thus:

Oh beautiful girl!! Why is it that your body has become like

the kadamba blossoms, on account of the instance and frequent

horripilation.

11
d. Svarabhanga (Break of voice)

Break of voice is the faltering and clnoking in the voice on

account of intoxication, etc. Thus:

The words of the lotus-eyed girl sweep away the mind-the

words, resplendent like the indistinct and sweet cooing of the

intoxicated cuckoos, and sinnilar to the voice of flight of ospreys,

and with soft voice broken and choking because of excitement.

e. Vepathu (Trembling)

Trennbling is the tremour of the body due to passion, anger,

fear, etc. Thus:

Don't you be proud that on your cheek there shines, drawn

by the lovers hand, a flower-bud (designed as an ornannent). Is

there to one else, you think, who is the recipient of such

decoration, now, but for the trembling (of the lovers hand) acting as

an unfriendly obstacle? (While your lover was so cool and collected

that his hand never trembles even when sketching a flower-bud on

the cheek?)

f. Vaivarnya (Loss of colour)

Loss of colour is the pallor (i.e. change of colour the body)

on account of despondency, intoxication, anger, etc. Thus:

12
 Her body is languid like a crushed lotus-creeper (she) acts

with the great difficulty only under the importunities of her retinue;

and her cheeks, pale like a newly cut piece of the tusk of an

elephant, match the beauty of the moon free from the stain.

g. Asru (Weeping)

Weeping consists in tears flowing from the eyes because of

grief, dejection, excessive joy, etc. Thus:

On this lake, in the intervals between the falling and rising of

tears, I beheld the regions full of lotus, the lotus which trembled

with their big stalks being shaken by the wings of the Mallikaksa

geese which cackled indistinctly through joy.

h. Pralaya (Fainting)

Fainting is the loss of sense on account of passion, grief,

etc. Thus:

Would the various naturally agreeable actions of the lovely-

eyed on concern me, (actions) fill with love, with the growing

affection, showing intense passion produced through familiarity in

which there is the direct instance absorption of the mind (the

functioning of the external sense), even though they are created by

(mere) fancy.

13
 These are internal feelings [satvika] because of their arising

fronn the inner nature {satva).

Face paint, masks and costumes used by the actor

sometimes become obstacles in appearing satvikabhinaya.

Natyadharmi and Lokadharmi

Natyadharmi and Lokadharmi are two different styles of

theatrical representation or abhinaya as stated by Bharata. It is

difficult to define Natyadharmi and Lokadharmi precisely.

In general it may be said that abhinaya strictly in accordance

with the sastra is Natyadharmi. Since the abhinaya is strictly

according to the sastra all actors will enact it in more or less the

same fashion. Thus when 'monkey' is depicted through a mudra

(hand gesture) it is Natyadharmi since all actors will be using the

same mudra.

Lokadharmi tries to imitate the object to be described. Thus

'monkey' may be depicted through various antics similar to those

of a monkey. It is easy for any audience to comprehend the topic

when it is depicted through Lokadharmi. Depending on the skills

and talents of different actors there could be variations in depiction

of a 'monkey'. Natyadharmi too presents the movements of a

14
monkey to a limited extent. But, winen this limit is crossed then it

becomes Lokadharmi.

Natya is constituted by six such styles of abhinayas (four

kinds of abhinayas and two dharml-s). The art forms of cakyars

like Kuttu and Kutiyattam are rich in various abhinaya techniques.

But, all these techniques fall within these six styles.

Kuttu

Kuttu has a popular word in Kerala and in Tamil Nadu. It

could mean dance play or entertainment. Several dance forms or

plays are referred to as Kuttu^^ in the ancient and mediaeval

literature of Kerala and Tamil Nadu.

Ilahko Atikars Cilappatikara (of 5^^ Century A.D), one of the

five epic poetic works in Tamil, refers to 11 different types of

Kuttu as under:

1. Kotumkuttiyattam

2. Pandurahga Kuttu

3. Alliyottamkuti Kuttu

4. Mallakkuttu

21. Folklore Dictionary, Dr. Vishnu Namboodiri, p. 23.

22. Cilapathikaram, Pun/akandam, Tr. Rameshan Nair. S., p. 98.

15
 5. Tutikkuttu.

6. KutakkOttu

7. GhatakkOttu

8. Marakkal kOttu

9. Pavakkuttu

10. Kataccikkuttu

11. PetikkOttu.

All these are dance dramas (plays predominantly based on

dances).

In Kerala there are some regional forms of KOttu. Pavakkuttu

(Shadow play) prevalent in Palakkad district is an example. Dolls

made of leather constitute its actors and actresses. This form of

shadow play is presented through songs based on Kamba

Ramayana. Families who traditionally present this form of KOttu are

called AntipandaraiinaF^. Pleasing Goddess Bhadrakali is the aim

of the performance.

Saiva KOttu is another example of regional forms of KOttu.

This is performed mostly in Devi temples in northernmost Kerala.

23. Bhargavan Pillai. G. op. cit., p. 130.

16
Saiva Kuttu is the major item {Niramf^ of POrakkali. Basis of Saiva

Kuttu is tine story of Siva. Saiva Kuttu lias 15 different dance styles.

Kanyar l<ali, tlie traditional dance drama of Palakkad district,

includes presentation o\ Antil<kuttu, Vallonkuttu, Malamakkuttu etc.

However, in Kanyarkaji the word Kuttu means 'song'. Thus,

Antikkuttu are songs in praise of lord Siva, Vallonkuttu are

Tottams^^ that contain guidance given by Tiruvalluvar while

Malamakkuttu are songs praying for prosperity and abundance (of

adherence). The word Malama literally means plenty, abundance or

prosperity.

Cakyar Kuttu is an art form prevalent all over Kerala without

any regional difference. These days it has become popular both

within the country as well as abroad. Song and dance are not of

prime importance in KOttu. The word Kuttu here refers to the

drama performance or play performed by cakyar. In earlier days it

used to be presented at the Kuttambalams (a dance hall or stage

attached to temples).

24. Each section/episode [Angam) of Purakkaji is referred to as

Niram, Bhargavan Pillai. G., op. cit., p. 133
25. Tottam refers to special type of song.

17
 Kuttu is basically of three types, namely:

a) Cakyar KOttu

b) Natihyar KOttu

c) Kutiiyattam

A stage presentation made by a single artist is referred to as

Kuttu while that by multiple actors is referred to as Kutiiyattam

Cakyar Kuttu

Cal<yar Kuttu refers to the narration or stage presentation of

a story by the Caf<yar. Since it is presented by Cakyars, it is called

Cakyar Kuttu. At the same time, since what is presented is a

literary composition {Prabandfia), it is also known by the name

Prabandliam Kuttu.

Cakyars belong to the community of people dependant on

the temple [Ambalavasi). Ammaman Tampuran^^ opines that the

term Cakyar has originated from the word Cakyar which deities are

converts to Vedic religion from Buddhist religion. Btirastu was a

custom that was prevalent among the Nambutiri community of

Kerala wherein a woman is excommunicated for her proven

26. Acharya Narendrabhushan, Chief Editor, IHindu Encyclopedia,

p. 284.
27. Ammaman Tampuran, Kuttum Kutiyattavum.
illegitimate relationship. Male children born to them before such

excommunication became Cakyars, if their Upanayana was over,

or Nambiars if their Upanayana is yet to take place. Female

children were free to join either of these groups as they wished.^^

Kuttu is the traditional occupation as well as the means of

livelihood for the Cakyars. Nambiars are the ones who play the

Mizavu. Seated on a sheet spread on the stage to the right of the

actor, they provide the background music. Kuttu being

predominantly a narrative art form, Prabandha-s (literary

compositions) form the basis of Kuttu performances.

Prabandha-s

Campu is a literary work that contains both prose and

poetry. Campus written specifically for stage presentation for

_ _ on

Cakyar Kuttu and pathakam performance. Performance based

Campus are called prabandha-s. Prabandha-s written by

Melputtur Narayana Bhattatiri, the author of Narayaniya,

Etavettikkadu, Asvati Tirunal Maharaja axe the ones most

28. Raja Raja Varma Vatakkumkur, Keraliya Samskrta Sahitya
Caritram, Vol III, p. 146.
29. Pathakam is a devotional temple art form. It involves narrative
presentation of stories from the Puranas.
30. Raja Raja Varma Vatakkumkur, op. cit., VI, p. 206.

19
commonly used for Kuttu. MelputtOr wrote these Prabandha-s

mainly for his friend, Iravi Cakyar^\ Prabandha-s are the greatest

gift given by MelputtOr to stage art forms like Kuttu.

Melputtur Prabandha-s

Ramayana Prabandha and Bharata Prabandha are the most

common among MelputtOr Prabandha-s. In order to make the

performance more zestful and entertaining, Cakyars have the habit

of drawing prose and poetry from other prabandha-s as well. As a

result none of the Prabandha-s existing now could be taken as

pure or original. Prabandha-s most commonly used by Cakyars

contain passages from other works.

Ramayanam Prabandha

Ramayana is quite a large Prabandha and contains the story

of Rama from his birth till the execution of Ravana; but, the stories

have not been separated. At the end, it has a section on

Raksasotpatti (the origin of Raksasas). The most famous

Prabandha of MelputtOr is Niranunasika. It contains the story of the

chopping off of SOrpanakha 's ear and nose and her subsequent

wailing. Since Iravi Ca/cyar suggested that it would be inappropriate

31. Narayana Pisharody, Melputtur Narayana Bhattatiri, p. 65

20
to have any 'nasal sounds' in Surpanakha's wailing as her nose

has been cut off, Melputtur has written this Prabandha avoiding all

nasal sounding words. This is an instance showing the glowing

genius of Melputtur.

Bharatam Prabandha

Bharatam prabandha is made up based on a collection of

stories fronn the Mahabharata. Bhismotpatti, Vyasotpatti,

Satyavatlparinaya, Citrahgadavadtia, Ambopakhyana, Dhrtara-

strotpatti, Pandavotpatti, Bakavadha, Pahcali svayamvara (earlier

and latter parts), Yudhisthirabhiseka, Sundopasundopakhyana,

Sabhapravesa, Dyutakrida, Patracarita, Vyasopadesa, Jara-

sandtiavadha, Digvijaya, Rajasuya, Bhismasvargati, etc. are some

of the prabadha-s written based on stories from the Mahabharata.

Pahcali svayamvara is replete with several humorous

episodes. BhagavaddOtu, being predominantly devotional, attracts

the religious people while Subhadrapaharana with its poetic beauty

is attractive to literary audience. Rajasuya has been written by

Melputtur primarily to disprove the allegation that he is ignorant

about 'Yagas' and the rites associated with them.

21
 Syamantaka, Nrgamoksa, Matsyavatara, Gajendramoksa,

Naradamohana, Vamanavatara, Ajamijamoksa, Kucelavrtta,

Santanagopala, Ekadasi mahatmya, etc are prabandha-s written

based on Bhagavata.

Parvatisvayamvara, Daksayaga, Astamiprabandha,

Tripuradahana, etc. are prabandha-s based on the story of Siva.

Astamiprabandha is a prabandha written with Vaikkatta-

stami as its main topic. It is gem of a creation among prabandha

works.

Other Prabandhas

Rukminisvayamvara and Daksayaga are two prabandha-s of

Etavettikatu. Both these are devotional in nature.

Kartaviryarjunavijaya and Santanagopaia are authored by

Asvati Tirunai Maharaja while the Usaparinaya prabandha is written

by iiayitattu Narayanan NambOtiri.

Prahiadacarita, Sukanyacarita, Radhamadhava and

Ambarisacarita are prabandha-s written by Pariksit Ramavarma

Tampuran.

Banacarita is composed by an unknown author and it has

been published by Uiiur S. Paramesvara iyer.

22
Dress and Costumes

The actor in Prabandham Kuttu has the costume of a Clown

{Vidusaka). Hence this type of Kuttu is also known as Vidusaka

Kuttu.

The head gear of the actor consists of a tuft of hair (kutuma)

on the head, peacock feathers on the forehead, a crown made of

red scarf, studs in the ears, a circular ring in the right ear stud and

a betel leaf in the left ear stud. The face, chest and both the hands

are painted white with a paste of rice flour. Five circular dots

[Bindi) each are marked on the face and chest and two each on

both the hands. Mascara is applied lavishly in the eyes and a

mustache is drawn with one end pointing upwards and the other

end downwards. An ornament {katisOtra) with the face of an exotic

animal {Vyajimukha) is worn as waistband. The backside of the

actor is covered by neatly folded and tucked cloth {mattu) while the

front side is covered by a shawl or scapular [uttariyam). A

brahminical thread is worn across the chest. The feet have got

markings made by sacred ash {btiasma). This makes up the full

dress of a clown {Vidusaka vesa).

32. See appendix no. 2.

23
Stage Presentation

The Nambiar plays the Mizavu in tune with this emotive

action {Bhavabhinaya) of the actor while the Nahhyar provides the

base tune [Tajam) on the Kuzittalam. This is followed by Vilakkal (a

hand gesture made by the actor to stop playing the Mizavu).

Pithika follows this stating that the ultimate aim of human life is

attainment of Moksa (freedom from the cycle of births and deaths)

and in Kaliyuga narration of the story (story telling) is the means for

that. This is followed by an entreaty to lord Vasudeva or to lord

Candracuda for the welfare of all depending on whether the story is

related to Krsna or Siva. Following this the actor seated on a low

stool and with his covered by the upper cloth meditates on

Upasanamurti. Then comes Sahksepam which refers to a brief

narration of the story preceding the one that is being presented.

Recital of the poem {sloka), describing the story, and interpretation

of the main words of the poem in prose form comes next. The

actor, coming on stage, performs six different actions; namely,

kriya (certain customary steps), Vidusakastobiia (clownish emotion

or expression), Vilakkai, Pithiika, narration of Saiiksepa, recital of

poem [sloka] and its interpretation.

24
 Once the actor comes on stage he performs kriya which are

certain customary dance steps. This is the only action {abhinaya)

related to dance in Prabandham KOttu. Vidusakastobha follows.

Traditionally there is a practice, both in KOttu and Kutiyattam,

whereby the basic nature of each character in the play is displayed

to the audience through characteristic actions. This is called

stobha. Thus when a character representing the monkey king,

Sugriva, enters the stage, he enacts the basic characteristics of a

monkey since although he is the king his basic nature is that of a

monkey. Scratching his body, climbing a tree etc. are some of the

actions presented in vanara (monkey) stobha. In Prabandham

KOttu it is VidOsaka (clown) stobha that is presented. Since

VidOsaka is a clown it is humorous or funny actions that are

presented in VidOsakastobha. Washing the sacred thread, chewing

betel, de-lousing and combing of hair, squeezing and fanning with

the upper cloth etc. are some of the actions in VidOsakastobha.

Kuttambalam

KOttu and KOtiyattam are generally staged or presented at

KOttambalams (theatres inside the temple). These are located

25
within tine temple compound in front of the deity to the right side.

One half of the Kuttambalam is meant to seat the audience while

the other half is the stage. Behind the stage, there is the aniyara

(dressing room or Green room). Most of the Kuttambalams are

made in rectangular shape and their construction is based on such

literary compositions of Kerala like Tantrasamuccaya, Silpavidhi,

Silparatna, etc. Kuttambalams at Irinjalakkuta Kutal Manikyam

temple, Muzikkulam Laksmanasvami temple and Thrissur

Vatakkumnatha temple are some of the more famous ones. The

stage {arahiiu) too is an integral part of aharya abhinaya like the

costumes and gestures of the actor.

Narrative Techniques in Prabadham Kuttu

KOttu and Kutiyattam are art forms where even the smallest

occasions for explanation or interpretation of words are made full

use of. For example, take this episode in Ramayana Prabandha.

The context is the final battle. Havana asks for advice from his wife

Mandodari on whether it is better to hand over Sita to Rama or die

at the hand of Rama. Mandodari answers thus:

33. Madhava Chakyar Mani, Natyakalpadrumam, p. xxx

26
 drstva dainyam bhaginyassunayakharavadham

matulasyapi nasam

salanam bhedanam tatkapivarahananam

tacca sugrivasakhyam/

karmanyudyanaharturjalanidhiniyamam

yo najatastadanim

so 'yam naste kule 'smin kathamiva kamita-

jjayate, te vivekah//'^

'How did you get the wisdom to ask for my advice now?

Haven't tinere been several such occasions in the past?' Here the

Vidusaka embarks on a detailed explanation of such events like;

Chopping off of SOrpanakha 's ear and nose, killing of Khara and

Marica, chopping down of Sala trees, Hanumat's ravaging of the

garden, killing of Balin, pact with Sugriva, crossing of the sea etc.

which goes on for days together.

In a verse, right from its metaphor each element of the poem

Individually and as a whole is capable of being given different

meanings and interpretations. For example, take the love letter

written by Rukmini to Krsna in the prabandha, Rukminisva-

yamvara. It goes like this:

34. Ramayana Prabandha, p. 275.

27
 ehi madhava namo 'stu matparam

papamutsrja sahothamapyaram/

mamudara saranagatam satim

pahi dehi caramocitam gatim//

The word caramocitam patim could be interpreted as:

1. Carame ucitam .gaf/m-kindly grand me moksa, which

is a befitting end of life.

2. cara mocitam gatim-please set me free or liberate me.

3. Ca-ramocitam patim- please give me refuge like that is

given to Rama or show me the way as that of Rama

(Lal<sml).

Depending on the skill of the Cal<yar, the interpretations

could multiply manifold.

The famous stanza, Ramam dasarattiam viddhi. of

Ramayana has been given 14 different meanings in the literary

work Ramayana Prabandiia edited by Chengamanad Damaodaran

Nambiar.

In Melputtur's Prabandtia, Bhagavaddutu, Duryodhana

declares the arrival of Krsna {Krsnagamana) in the royal court. Here

Krsna is referred to as Gopalal<a (shepherd). Krsna has over a

28
thousand names; but, the word Gopalaka used here is indicative of

a despisable or lowly nature. Cakyar, during the course of the

Kuttu describes the despisable meaning of this word, Gopalaka as

35

well as its Vedantic meaning. Similarly, abuse, praise and

ambiguous usages are all subjects of interpretation by the Cakyar.

The verse, the word, the gender {lingam) used, the splitting

up of words, the case endings {vibhakti), are all tools for a Cakyar

skilled in the art of interpretation.

Audience Participation

Another special feature of cakyar Kuttu is the participation (in

direct) of audience in the performance. The discourse of a Cakyar

is similar to telling a story to a friend and the same actor presents

different characters. In Prabandtiam Kuttu, during the course of the

play, there is practice of presenting the audience as characters.

While describing a character, the Cakyar may talk pointing his

finger to a person entering the hall as though addressing him. Both

the questions and answers are given by the same person. Each

member of the audience in the hall tends to identify with the

characters of the play, which is a specialty of Cakyar Kuttu.

35. In Melputtur's Prabandha, Tripuradahanam, the verse,
Kirtissaradapurnacandrasadrsi..., describing the people of
Tripura, can be interpreted as a praise or a despise.

29
Voice Modulation

During the course of the play men, women and children,

kings, slaves and monkeys may come on stage. Since all of them

are presented by the same actor, the actor uses different voice

modulations while depicting each of them so that it becomes easier

for the audience to understand and distinguish the character. Thus

when Siva, Parvati and Ganapati are the characters being

depicted, the Cakyar will have to use the sound of a man, a

woman and a child. It is through his skill in voice modulation, style

of discourse, emoting and body language that the Cakyar

manages to perform this.

JSannyar KUttu

Naiinyar Kuttu, though a part of KOtiyattam, is an

independent art form in its own right. Naiiriyar Kuttu refers to the

Nirvahana of Kalpalatika, companion of Subhadra in Kulasekhara's

Subhadradhananjaya. In Kutiyattam there is an abhinaya

technique wherein each character, as he/she comes on stage,

explains the circumstances, in relation to the previous events,

which brought him/her there. Nirvahana is the technical term for

this abhinaya technique.

30
 Subhadra is kidnapped by a demon under instructions from

Duryodhana. Arjuna rescues Iner. Srikrsna, by magical powers,

takes Iner away to Dvaraka. Subhadra sends her companion,

Kalpalatika, to gather information about the hero who rescued her

and also to recover her lost brassiere. Coming on stage,

Kalpalatika, describes through Nirvahana, the story of Srikrsna and

his ancestors. This Niravahanam of Kalpalatika constitutes Nahhyar

Kuttu. And its literature is the story of Srikrsna. The abhinaya is

done using 217 slokas. Stories related to the birth of Srikrsna,

Putana Moksa, stories of Nandagopa, Vasudeva etc. are all

covered in this. The different characters are depicted on stage by

the same actress.

The actress is known by different names like,

Kaliyugalaksmi, Nahha, Kuttastri, Silpadarika, etc. Probably it is

Nahha which is later morphed into Nahhyar.

Stage Presentation

During presentation of Nahhyar Kuttu one Nahyaramma

{Nahhyar lady) presents herself as the actress and enacts the story

while another Nahhyaramma recites the slokas corresponding to

the part being enacted in Ragas suited to the occasion. During

31
aiigikabhinaya, this latter Nanhyaramma provides accompaniment

to the instrumental music (Vadya). The Mardahgika Nambyar plays

the Mizavu in tune with the dance steps and joins with the other

instruments like Itakka, Sahkhu, Kuruhkuzal etc. in providing the

Mela (orchestra). This is the basic character of Nahhyar KOttu or

Nanhyaramma KOttu.

Order and Discipline

First day of Nahhyar KOttu is the Purappatu. Entry of

Subhadra's companion, Kalpalatika, on to the stage is called

purappatu. On the day of purappatu the stage is decorated with

Kulavaza (banana plant bearing a bunch of bananas), kulattehha

(bunch of tender coconut) and kuruttola (tender leaves of coconut

palm) and a nirapara (a large measuring bowl filled with paddy) is

kept on the left side of the Nilavilakku (ceremonial lamp) set on the

stage while to the right of it is kept the astamahgalya (a tray with

eight different auspicious herbs). Nambiar brings the lamp lit from

the sanctum and lights the Nilavilakku set on the stage. Thereafter

the actress ties the headgear in the traditional fashion. Wearing the

headgear {talayil kettaP'^) is the first step in all the three art forms.

36. Talayilkettal - In art forms like Prabandham Kuttu, Nahhyar

KOttu and Kutiyattam, Talayilkettal is the first step performed
by the actors and actresses when they start to dress up for
performance. They tie a small red scarf on their head while
meditating on Upasanamurti.

32
viz. Kuttu, Nahhyar KOttu and Kutiyattam. If Kuttu is performed in

tine morning the actress has to sit facing east for this ceremony

and if it is in the afternoon she has to sit facing west. The actress

pays homage to Ganapati, Vedavyasa, Daksinamurti and the

preceptor in the said order while touching the red scarf. Thereafter

she ties the red scarf on her forehead. Following this she touches

manayola or cayilyam^^ with her ring finger and lightly strokes her

forehead, nose, cheeks and chins three times each in the said

order and then proceeds to dress up. For Kuttu and Kutiyattam the

first step is tuning of the mizavu (a traditional musical instrument)

by the Nambiar. Playing of the mizavu starts only after the sheet for

seating Nahhyar has been spread to the right side of the

Kuttambalam (the stage where the performance takes place) and

the i<uzittalam has been placed thereon. Following this gosthi is

played. Gosthi l<ottai is the second step of the performance. After

gosthi i<ottal comes arahhu tali. The arahhu tali sloka is indicative

of the story of the play that is going to be presented. This is

followed by recital of another sloka while holding up the curtain.

(This sloka recital is referred to as i/ay/Ar/ca/-reading). Once vayikkal

37. Manayola and Cayilyam are particular stones which, after

making in the paste form (with coconut oil or ghee), is pasted in
the face of actress. Manayola is yellowish in colour whereas
Cayilyam is reddish.

33
is over kaliyamvaccu tiriyal^^ is performed. Here the performer

offers prayer at the mizavana after sprinkling water on her face

and takes a few symbolic steps with her feet. Thereafter the curtain

is removed and a brief description of the context of the story is

given. Following this the dances commence. The Nambyar, Nati

(Actress) and Nahhyar go into the sanctum of the temple in the

said order, offer prayers after ringing the bell and perform

Kesadipadam of Pan/ati and Paramesvara, Dikpalavanadana,

Nrtta, etc. in that sequence. All three of them return to the stage

after offering daksina and having tirtha (holy water). Then that

day's Kuttu performance comes to an end.

Nirvahana starts from the next (second) day. The actress, on

entering the stage, performs kaliayamvaccu tiriyal and then does

sabhaniriksana. In sabhaniriksana, she stands facing the vilakku

(lamp) and moves her eyes to both sides, up and down as well as

in a circular fashion and ends looking straight at the lamp. This is

followed by anukrama where the different parts (episodes) from

beginning of the story to the one from where the nirvahana

38. Kaliyamveccu tiriyal is tiie styiized dance in front of the l\/!izavu

performed by cakyar. Natyakaipadrumam, p. 25.
39. i\4izavana is the container for the Mizavu and it is kept behind
the stage.

34
commences are danced (enacted) in reverse order. Anukrama is

followed by samksepa where the story from where the nirvahana

starts and up to the beginning of the play is enacted briefly. Then

comes nirvahana. Presenting the context of the story being

enacted in relation to past events leading up to it through a

combination of slokas (verses), bhavas (facial expressions), mudra-s

(gestures) etc. is referred to as nin/ahana. Anukrama and

samksepa are used in Kutiyattam as well. The mudra-s (hand

gestures) used in this are based on Hastalaksanadipika.

Folklore related to Nannyar Kuttu

Story has it that a Brahmin [Agnihoth) who attained holiness

through sacrificial rituals (yaga) reached heaven after his death. He

attended a dance performance of the heavenly nymphs

[Apsarasas). One of the dancers, Ghrtaci, a heavenly beauty, was

attracted by the handsome appearance of the Agnihotri, smiled at

him and missed her steps. On being questioned by the dance

master for the reason, Ghrtaci remained silent without answering.

Such silence being a human trait the master cursed her to roam

around the earth as a woman. Ghrtaci pleaded for atonement and

the master asked her to dance the funeral/burial sites of Agnihotri's

35
and sanctify them. That angel and her disciples continued this

dance ritual over generations and it used to be known as

Cutalakkuttu. The topic of this dance recital was invariably the

story of SrJkrsna. This Cutalakkuttu is the forerunner of

Naiihyaramma KOttu. Nannyaramma, the present day actress of

Kutiyattam and Nahhyaramma KOttu are considered to the

successors of this apsaras.

Kutiyattam

Kutiyattam is the stage performance of Sanskrit plays

followed in Kerala. It is a continuation and further development of

the Sanskrit drama presentation prevalent over different regions of

India. In Natyasastra, stories suited to visual presentation are

generally called as Rupaka. Many of these 'Rupakas' are presented

through KOtiyattam. A scene or any part of a scene is what is

normally presented in Kutiyattam.

If the second act of a play is chosen for presentation, in

Kutiyattam it is customary to enact the synopsis of the first act

through what is known as nirvatiana. This helps viewers to get

attuned to the flow of the story.

40. This is based on the manuscript owned by Villuvattathu

Ravunni Nambiar.

36
 For example, Toranayuddha, the third act in Bhasa's

Abhisekanataka, is staged over six days. The purappatu of the

character who enters the stage is staged on the first day.

Purappatu means the first entry or introduction of a character. The

first day's performance is only meant to introduce the viewers to

the context of the story. Some parts of certain rituals and dance

like movements are performed in purappatu.

Nirvahana, in which the viewers are given an introduction to

the context of the story, starts from the second day. It continues till

the actual context of the story is reached. Then comes the

performance of the play. Performance by more than one character

begins only from this point. Toranayuddha Kutiyattam commences

with the entrance {purappatu) of Sahkukarnan, the gardener. The

nirvahana follows on the second and third days. The actual

performance of the play follows this. In Kutiyattam, Purappatu,

nirvahana, and performance of the play are presented sequentially

for each act.

There are different views about the origin of Kutiyattam.

However, there is no mention of Kutiyattam in either Accicaritams

or edicts. The word Kuttu was used in earlier times for all type of

37
artistic performances done by Cakyars. A dramatic or a tlieatrical

performance enacted by Cakyars is termed Cakyar Kuttu. The

third act of Bhasa's play Pratijnayaugandharayana was known as

Mantrahkam Kuttu and Mahendravikrama's Mattavilasa was known

as Mattavilasakkuttu.

1. Mention is made in Cilappatikara about one ParavOr

Kuttacakkayyan who is skilled in atal (acting)

2. In Trkkotittanam Sasanam^^ of Bhaskara Ravivarman

there is a mention pattukkuttumaticcu (ten plays

enacted)

3. In Vaisika tantra there is line wherein a performing girl

is instructed to act as in Cakyar Kuttu

[Tava punarayi penne kamanrttam pravrttam

jhatiti pakaravendum cakkayar kuttu pole)

42

4. In Unniccirutevicaritam a reference is made to

Kuttambalam.
{Kelimayil kuttatumaru krta kuttambalam ca)

41. Trkkotittanam Sasanam — This sasanam is said to have been

proclaimed during the 14th year of the reign of Bhaskara
Ravivarman of 2nd Kulasekhara Empire. It refers to the
donation of assets made to Trikkodittanam temple by the Raja
of Venad, Govardhana Martandan.
42. N. Gopinathan Nair, (ed.) Malayala Sahitya Caritram
Nuttandukalilute, p. 45.

38
 All these references pertain to perfornnances based mainly

on nrtta (dance) rather than to theatrical performances with

emphasis on abhinaya (acting). KOtiyattam evolved into its present

form through modifications and improvements undertaken over a

period of time and one of main person responsible for such

modification and improvement is king Kulasekhara who ruled with

Mahodayapura as his capital during 11 "^ century.

Contributions of Kulasekhara

Two plays Subhadradhananjaya and Tapatisamvarana were

written by him. Both have their theme from Mahabharata. He used

to teach the actors by enacting the scene himself. These

instructions in stage craft {rarigapathas) are known by the names

Samvaranadhvani and Dhanahjayadhvani^^. The audience was

categorized into two groups preksaka and nanaloka. Those who

are well versed in sastras belong to preksaka and the rest to

nanaloka. Kulasekhara developed techniques of acting which could

entertain both categories of viewers watching the same play. He

laid out explicit words and plain acting for the ordinary people

43. The book, Vyangya Vyakhya is a compilation/collection of both

Samvaranadhvani and Dhananjayadhvani. This text has been
edited by Dr. K. G. Poulose.

39
{nanaloka) and suggestive expressions witin innplied meaning for

the discerning audience (preksaka). Ullur S. Paramesvara Iyer, poet

and liistorian, as well as Manimadhava cakyar, an exponent of

Kutiyattam and Ammaman Tampuran, the author of the work

Kuttum Kutiyattavum, and others researching the origin of

Kutiyattam arrive at llango Adigal's Cilappatikaram. They hold that

Paravur KOttaccakkayyan mentioned in Cilappatikaram, is the same

as the famous exponent of Attam, ParavOrcakyar. But this

conclusion is contested by the historian Elamkulam Kunjan Pillaf'^.

Cakayyar is not the same as Cakyars, but were the famed dancers

of South India, he argues the Devadasi dancers of temples were

Naiikayyars and their male counterparts were Nambiars. We could

presume that the word Nahkayyar is similar to Nahhyaramma and

that Cakkayyars are predecessors of Cakyars.

Practices of suggestive acting in Kutiyattam

There are several indicative acting practices in Kutiyattam

which help the viewers to extract aesthetic experience from the

performance better.

44. Kunjan pillai, llamkulam, Kerala Bhasayute Vikasa

Parinamarinal, p. 57.

40
Arannutaji

The first ritual in both Kuttu and Kutiyattam is

mizavoccappetuttal (Beating of the mizavu (a type of drum) in a

particular way). It is a custom like Ganapati Vandana. Beating of

gosthi follows. Gosthi is a set of particularly formulated numbers.

Meanwhile Naiihyar, who is already on the stage, sings Akkitta,

which are hymns praising Ganapati, Sarasvati and Siva. Following

this, Nambiar, wearing a loincloth and standing on the stage in

front of the Mizavu sings Tamizu (this is called in Malayalam as

Tamizu parayuka) while holding water in one hand. It consists of

sloka and a synopsis of the story. Arahhutali sioka is a brief

synopsis of the story that is to be presented. Saluting the hero also

is part of this. However, if it is the antihero who is coming on stage

this salutation is avoided.

Sevita menakarambhaii parasaryorliitamatih

tapati tapanascaiva raja samvaranostu vaii//

This is \Y\e Arahnutaiisloka in Kulasekhara's 'Tapatisamvarana'

ramanguliyakadiiaro ragtiuviradOto

ragandiiaravanakuiaksayadiiumaketuh/

41
 rosabhibhOtanikhilaribalo hanuman

raksam karotu satatam pavanatmajo vah//

This is tine Arahnutalisloka in Ahguliyahka.'^^

Performing Anukrama

The actor, coming on stage salutes with folded hands and

after doing sabhaniriksana gestures ehkilo pantu (then long

back). Then he starts acting out each sentence backwards from

the stage of story at the end of nirvahana to that at the beginning

of nirvahana. At the start of each sentence he says 'before that'

{atinu munname), and does the acting. Nirvahana is the

presentation of earlier incidents of the story in the form of verse

{sioka).

Performing Samksepa

The item performed immediately after anukrama is

samskepa. Sometimes the anukrama may be omitted in KOtiyattam

but samsksepa is never omitted. After the customary

45. Anguliyahkam is the 6th act of Saktibhadra 's play,

Ascan/acudamani, Ed. K. P. Narayana Pisarody, Ascaryacu-
damani, Attaprakaram, p. 155.
46. The phrase ehkilo pantu means long long ago. This word
naturally rouses the curiosity of the spectator and also it helps
to indicate the antiquity of the story.

42
sabhaniriksana and salutation in Kamalaparivartana (Holding hands

in the form of a lotus flower), the actor gestures ehkilo pantu and

then enacts the story till the beginning of nirvahana. This is

samsksepa which is also an introduction to nirvahana.

Performing Nirvahana

Nin/ahana is performed after samsksepa. If the second

scene of a drama is to be played, the first scene is enacted as

nin/ahana.

Emoting and Acting

There is intrinsic relationship between emoting a mood and

acting in KOtiyattam. For example, expression of moods like

srhgara (erotic love) and karuna (compassion) are done in a

subdued form. For enacting these rasas a stance in samapadam

(with both feet in line) with slightly bent torso is adopted which is

known as Patihnattam. Rasa-s like adbhuta (Amazement) and vira

(Heroic) are energetic in content. For these Patihnattam is not

suitable. Here llakiyattam (dynamic acting) is employed. A stance

keeping left feet in front and right foot slightly back and rightwards

and with a straight body is assumed for llakiyattam. In this pose

both hands and feet are free to be moved as required. Both

Patihnattam and llakiyattam are used only for male characters.

43
 For female characters a pose with feet together, knees

slightly bent outwards and body in slightly lowered (in a submissive

form) is used. The sakhi (bossom girl friend) characters keep their

head slightly tilted. When male characters transfer themselves and

act as female characters they lift the poynakham (hem of the dress)

and tuck it up and act with effeminate gestures while keeping feet

together. Lifting and tucking up the hem of the dress is an

indication that the actor has changed into a female character.

Pakarnnattam (Acting as a transferred character)

Pakarnnattam is a special form of acting specific to art forms

like Kathakali and Kutiyattam. The same actor presenting the

abhinaya of different characters is pakarnnattam.

Ajagarakabalitam and sikhinisalabham etc. are examples of

pakarnnattam.

Ajagarakabalitam comes as a part in Nilakantha Kavi's

Kalyanasaugandhikam Kutiyattam. Bliimasena, while traveling

through the forest in search of Sougandhika flower sees a big male

elephant standing in the way. The actor plays out the elephant's

movements and actions in full. After that a big serpent swallows

the elephant. Actions of the serpent too are presented by the same

44
actor. Trial of strength between the elephant and serpent and

finally the serpent swallowing the elephant is enacted. The acting

skill of the actor in transforming himself into an elephant and as a

serpent almost instantaneously deserves special notice, especially

since the actor does not get the support of aharya abhinaya

(costume and ornaments), as here the aharya' is that of

Bhimasena.'^^

Detailed or Exhaustive Acting

The style of detailed or exhaustive acting is a speciality of the

art forms performed by Cakyars. They never let go an opportunity

for acting. In Naganandam of Sri Harsa, there is passage

describing the beauty of Malayaparvata (Malaya mountain).

Jimutavahana and Vidusaka (court jester) are the ones on the

stage.

47. In Natahkusa, a critical study of Kutiyattam, the author

questions the propriety of Pakarnnattam. Acting, be it Satvika,
Ahgika or Vacika, will it be enjoyable or acceptable if it does
not go with Aharya' and even if is enjoyable, is it technically
(according to sastra) correct; questions the author of
Natahkusa.
Hanuman, coming on stage in the costume of a monkey,
acting out the delicate emotions of Sita without changing the
costume, is somewhat unpleasant.
See Natahkusa, Critic on Dramaturgy, Ed. K. G. Poulose,
p. 128.

45
 madyaddiggajagandabhittikasanair-

bhagnasra vaccandanah

krandatkandaragahvaro jalanidhe-

rasphalito vicibhih/

padalaktakaraktamauktikasila -

ssiddhahgananam gataih

sevyo 'yam malayacalah kimapi me

48

cetah karotyutsukam//

The hero, when he enacts the interpretation of this sloka, the

portion diggaja in the first line comes in for detailed acting. The

swinging of ears by the elephant, movement of its head and eating

are all part of the acting. Explanation of meaning of the phrase

Padalaktatarakta, description of the beauty of Siddha women and

their Koppaniyikkaf^ etc. are all enacted in full detail.

48. Naganandam, 1. 9
49. Koppaniyikkal is a special acting technique in Kutiyattam.
Sakhi-s (bossom girl friend) on the left and right, and heroine at
the centre stand in their customary poses. One of the sakhi-s
showing the mudra for "let us, as sakhi-s, do the makeup and
prepare the heroine", does the parting and re-arrangement of
the heroine's hair. Second one decorates the hair with flower
garland. One lines the eyes with mascara while the other puts
the dot {Bindi) on the forehead; one puts ornaments on the
heroine, while another dresses her up; and all the while they go
on making comments between themselves. The interesting fact
is that a single actor does all this performance. The parts of
heroine as well as the maids are played by the same actor.

46
Four types of acting

Enacting of slokas is at the core of any Kutiyattam

performance. Slokas which offer scope for being presented as a

play are enacted in four ways.

i) First the slokas are intoned with mudra-s. In this part,

expression of emotions and not the mudra-s is given

more importance. This is called collikkatp.

ii) Thereafter, mudra-s are shown for the words as

sequenced in the sloka. Here the stress is on the

mudra-s.

iii) Thirdly, the meaning of the words of the sloka as per

their prose order is enacted. Here the primacy is for

the anvaya (prose order) and its conjunction,

iv) After anvaya is enacted, the total meaning is enacted

in detail with interpretation. This is the occasion for the

actor to display his talent in full.

Such detailed technique of acting is very rare.

Rasa and Raga-s

The slokas used in Kutiyattam are sung in some peculiar

raga-s. These raga-s are called svaras in Kutiyattam. However,

47
these raga-s or the way they are rendered have no connection with

classical music. Positions of notes, raga identifying notes, up and

down movement of notes on the scale, tonal variations of middle

notes [Suddhamadhyamam and Pratimadhyamam) and sequences

like pallavi, anupallavi, caranam etc. are absent in the raga-s of

Kutiyattam. In classical music tamburu, harmonium etc. are used

for providing sruti. This is not the practice in Kutiyattam. The raga-s

Indalam and Puraniru are sung in Kathakali. This is in no way

related to the alapana of slokas in Kutiyattam except for a similarity

in names. The Indalam in Kutiyattam and Hindolam in Karnatic

music sound similar in name. This raga is known as Malkose in

Hindusthani music. A scholar doing research in Tevaram in

Tamilnadu came to Kerala to learn about raga Indala, but had

50 —

return to return disappointed . Raga Indala was prevalent in

Tevaram. But that Indala has no connection with Kutiyattam.

These raga-s are dependent on the characters and rasas.

Some of these are listed below:

50. Achuthan K. P., Kupyattapravesika (Introduction to

Kutiyattattam), International Centre for Kutiyattam,
Trippunithura, p. 30.

48
 Raga Related character / Rasa

Indalam Uttamanayaka (Hero)

Cetipancamam - For Nica (lowly or cruel) characters

Virapancamam - In the context of courage or bravery

Bhinnapancamam In the context of great pleasure.

Muralindalam Lustful romance

Antari This raga is used by the narrator of the

story. Characters don't use this raga.

Svalpantari The character of God Varuna.

Veladhuli Horrific, Calling out from a distance

Srikamaram A sudden emotion.

Artan Romantic emotion

Paurali Vipralambham

Muddhan Romance of the Raksasa-s

Kaisiki - Humorous, Horrific [Bibhatsam]

Tarkkan - Kopa (angry) and Raudra (horrific)

Viratarkkan - For courageous or brave characters.

Duhkha Gandhari - Sadness, Compassion

Ghattantari For the context of killing of the cruel

Danam Astonishment, Fearful

49
Tontu - Prayerful, Peaceful/Tranquil

Puraniru - For the description of dawn, rain etc.

Srikanthi - Prayerful raga ends in killing of the cruel.

Description of Dusk, noon etc.

Vimala - Raga used in the slokas of Akkitta.

It is used by Nannyarammas.

Varati - This is an unknown raga.

Two slokas refer to the different types of raga-s used in

Kutiyattam. They are

I. 1. veladhulistvarayantu bhayanakarasah kvacit/

durasthabhasane caiva sa eva parikirtitah//

2. tontakhyaragassante ca bhaktibhave ca kathyate//

3. puranirakhyaragastu varsakalasya varnane/

prabhatavarnanayancagitijnairupagiyate//

4. smgarakhyarase ragah praya arto nigadyate/

tanmucchane tu pauralirvipralambhasya murcchane//

5. avasthayantu tattvajnairantariraga ucyate/

dustanigraha vartayam ghattantarirudahrtah//

6. atarkitapramode tu ragah srikamarah//

50
 7. arikavasane srikanthi dustanam himsane 'pi ca/

sandhyavarnanavelayam madhyahnasya ca varnane//

bhaktibhave ca vidvadbhih kathyate gitiparagaih//

8. krodhe raudrarase capi tarkaraga udahrtah/

viranamni rase rage viratarka smrto budhaih//

9. duhkhagandhararagastu soke ca karune matah//

10. kuralkkurunni ragassyat kapinantu svabhavatah//

11. raksasanantu smgare ragomuddho nigadyate/

sriramasya tu sambhogasrhgare muralindalah//

12. rasayoh kaisikim prahurhasyabibhatsayorapi//

13. praharsatisaye ragah bhinnapahcama ucyate//

14. atyantadhirasamrambhe virapahcama iritah//

15. viranam nayakadinam uttamanam svabhavatah/

gitisiddhantatattvajnairindalo raga ucyate//

16. nicanamapi patranam balakanam tathaiva ca/

cetipahcamaragasya netarc drsyate kvacit//^

II. 7. Muddhan srikanthiitontarttan indalam muralindalam

Veladhulipunarddanam, viratarkan ca tarkanum.

51. Usha Nangyar, Abhinetri, p. 56.

51
 korakurunni paurali, puranirum tathaiva ca

duhkhagandharavum cetipancamam, bhinnapancamam

srikamaram kaisikiyum ghattantariyumantari

— • • ~ — 52

svaranamannal ivannam pattu pattumatayitum.

The raga-s and svara-s of Kutiyattam come under Vacikabhinaya.

Taja-s

The main instrument (yadyam) used in Kutiyattam is the

mizavu. The emotive acting by the actor becomes complete with

the help of mizavu. The tala-s (tunes) played on the mizavu in

accordance with the body and eye movements of the actor is

based on seven Tala-s. These Talas are related to raga-s. Ragas

depend on the rasa-s and the context. Dhruva, eka, atanta,

laksmi, jhampa, cempata, triputa are the seven tala-s.

The four types of acting in Kutiyattam

Angika

The basic source book for the mudra-s in Kutiyattam is

Hastalaksanadipika written by an unknown author. 24 mudra-s are

described in this. What letters are to a language, so are mudra-s to

Kutiyattam. As far as a mudra is concerned, it has to go through

52. Mani Madhava Chakyar, Natyakalpadrumam, p. 75.

52
three stages; beginning, growth and conclusion. It is mandatory in

Kutiyattam, that the mudra-s have to be shown close to the chest.

Aiigikabhinaya (acting) is mainly used for: (i) story telling,

nirvahanam, explanation of incidents etc., (ii) descriptions (iii) for

upaslokas (iv) for enacting Kailasoddharana (Lifting of the Kailasa),

Purappatu and for symbolic actions like kettatuka etc.. Almost all

characters other than Vidusaka are mainly ahgika actors.

Can

Cari-s refer to the movement of the feet. Can' helps in

depicting the onstage movements of the characters in the play.

Can' has a very great role in art forms like Kutiyattam and

Kathakali.

Depending on the nature of the character being enacted can'

will be different. For characters who are valiant or brave the cari,

vattattil cap natakkuka (walk in a circle with a jumping gait) is

prescribed. This type of feet movement makes the viewers aware

of the heroic nature of the character. Cellunti natakkuka (literally

meaning very slow gait) is prescribed for female characters. There

is no place for mudra-s in can'. However, a suitable mudra is

53. Natyasastra 11.1

53
usually held. But this mudra has no particular meaning or

significance.

Vacikabhinaya

In Kutiyattam the pronunciation of words are stylized. The

svara-s of Cakyars have similarity to the incantations of

Yajurveda^'^. The characters of Kutiyattam do not follow the normal

human speech. The actors speak in a peculiarly stylized way with

the words being lengthened at times and shortened at other times.

The leading male character uses Sanskrit, the female characters

and Vidusaka use Prakrt. However, Vidusaka alone can use all the

three languages viz. Sanskrit, Prakrt and Malayalam as he has got

the responsibility of translating into different languages. Nicabhasa

is another language used in Kutiyattam. Surpanaklia's language is

Nicabtiasa. Sometimes addressing is done in a special way in

Kutiyattam. For example, in Asokavanikanka Havana addresses

the Moon three times uttering Himkara. First he does it in sadja

then in paiicama and then in a loud voice. This addressing in three

different ways is a specialty of Kutiyattam. The style of recitation of

sloka-s in Kutiyattam depends on the personality of the character

54. Natyasastra p. XLV.

54
being enacted, the context and the rasa. Prose used in KOtiyattam

never even tries to imitate common language or style to the least

extent.

A haryabhinaya

In real life as well as in a play what makes a person or

character different is the costumes and ornaments he wears. That

is how we identify or distinguish a policeman, a lawyer or a soldier

at a single glance. Similarly, certain categorization has been done

in the costumes prescribed for characters in a play so that the

nature of the character can be identified. The stage settings,

painting on the face of the actor, costumes and ornaments like

kataka, keyura etc."^"^ worn by him all together form aharyabhinaya.

All these; stage, costume and ornamentations; go for the

entertaining of the viewers; hence they became part of aharya. In

KOtiyattam costumes are devised to each character. The

56

distinctions of pacca, katti, kari, pazukka etc. are also quite

evident. Savage characters, if they are endowed with rajoguna,

then the costume used is katti as in the case of Havana. The

monkey characters like Balin, Sugriva, etc. belong to tap vesa

55. See appendix no. 3.

56. Ibid., no. 4.

55
(costume). Balin is cuvanna tap, Sugriva is Karutta tap and

Hanuman is Vejiattap. Surpanakha both in SOrpanakhahka and

Mayasitahka and the mohinis in Tapatisamvarana belong to Kari

vesa. Srirama, Laksmana, Vibhisana, Sahkukarna etc. use the

ornamental headgear known as kuza/um panakkettum. Srirama,

Sugriva and others wear crowns {kesabharam) similar to the ones

worn by kings after their coronation. However, Arjuna, also known

as Kirip, is an exception as he is by nature supposed to be having

a crown. Female character irrespective of whether she is a leading

lady or a maid wears Pazukka on the face. The saffron coloured

paste obtained by grinding cayilyam, a kind of stone, in ghee is

used for painting the face in pazukka vesa. After applying the paste

on the face, the eyes and eyelashes are lined, a dot {bindf} in the

shape of an 'ash gourd seed' is applied on the forehead and a

circle is drawn round the face using charcoal. The tiara worn by the

female characters has serpent hood shaped decoration. It is further

decorated with cettippuvu (Chrysamthus) and vellj alukkukal (silver

rings). A laundered cloth {mattu) is tied round the waist, a

decorative garment (poynaktia) is worn in the front, gatrika (a type

of brassiere) is tied over the breasts and finally a shawl {uttariya) is

worn round the neck which completes the costume of a female

56
character. Three lines, looking like bhasmakkuri (a tripod like

marking made with sacred ash), are also drawn over the feet and

arms using a paste made of rice powder for female characters.

The costumes seen on the Kutiyattam stage today are not

those used in earlier times. These days, instead of applying

pazukka on the face, most of the times the face is polished using

manayola with a bit of cayilyam applied to it. In place of the

gopikkuri (mark on the forehead made out rice paste) marking is

done using a kind of ink. The headgears, costumes and ornaments

have also been modified. Only the serpent hood worn in the shape

of a crown has been retained without change.

The aharya of the Vidusaka, the loyal friend of the hero; who

comes on stage with, fourteen spots on the forehead, moustache

drawn upwards and downwards, wearing kundalam in one ear and

betel leaf in the other, and washing the sacred thread; declares

that he is a comic character.

Yougandharayana of Mantranka

The aharya of Yougadharayana consists of green coloured

manayola on the face, spots using cayilyam on the nose and

cheeks, a circle drawn using rice paste round the nose, fishbone

made out of cuttiyari (hard paste made out of rice and water)

57
below the lower lips, a cap made out black palm leaves on the

head. Moreover there would be vasika, pilippattam, and pieces of

red and cutti cloths. There would be balls made out of pieces of

white cloth on the tip of nose and cutti. Hair made from red and

black fibers and kundala and cevippuvu in the ears are further

adornments. On the chest svastika are drawn at five places, There

would be turmeric spots marked, one over stomach, three over

each hand and leg and at two places over the neck. Shoulder

bangles and normal bangles made of tender palm leaves {kuruttola)

on the arms. Udarabandha made of tender palm leaves {kuruttola)

is tied below the chest. Palm leaves are tied to the waist reaching

down to below the knee. Palm leaf rings {modaka) are worn on

both hands. These make the costume of Yougandharayana in

Mantrarika.

Kapali in Mattavilasa

The specialty of the vesa (costume) of kapali is the third eye

[Trkkannu) on the forehead. On a new piece of cloth folded into

one fourth, an image of Gahga is drawn. The drawing is done using

Guruti water made by mixing turmeric and quicklime. Apart from

Gahga, images of crescent moon, a serpent andyafa (matted hair)

58
of Siva are also drawn. After drawing these it is worn over tine head

as a cap. Kundalam made of tecci flowers is worn. Ratnappattam

(diamond crown) of tecci flowers is also put on the head. Rice flour

mixed in water is applied below the neck. Asthimala (garland of

bones) made out of the slivers of wood of mango tree, garland of

cetti flowers, shoulder rings, anklets and udarabandha (waistband)

all made of tecci flowers are further adornments. A piece of

laundered cloth {mattu) would be hanging from the waist like a

loincloth. Apokl<atina (a piece of cloth tied into the shape as a bag)

over left shoulder, a trident in right hand, l<indi (a brass vessel) in

left hand, a piece red cloth over mattu on the waist, a garland of

tecci flowers in place of beard and f<apala vessel in the hand goes

to make the atiarya of l<apaii in IVIattaviiasa.

Today, thanks to the advances made by modern stage

arrangement techniques, the audience can see many miraculous

sights. Kutiyattam theatre can also talk of a few such miracles. The

flight of Garuda (Eagle) is one of them. It is done by the Cal<yar

coming in Garudavesa in the Kup'yattam Nagananda. After

clearing and purification of the Kuttuparambu (an open area where

KOttu is conducted) near the temple, a pandai (height of the pandai

59
is 42 kol-a measure of length) is erected and a landing (stage)

having a hole at the centre is set up. On the body of the Cakyar

coming in Garudavesa, a thousand and one strings are tied at

various points like the tail, wings, beak etc. and these strings are

spun together to form a single rope which is held by the Nambiar.

The flight of the Cakyar in Garudavesa on the strength of these

thousand and one strings over the stage is the attraction of the

show. This stage and the Garudavesa are show pieces of

aharyabhinaya.

ISinatn

Another unforgettable scene in Kutiyattam is Ninam aniyal

(Getting soaked in blood). Ninam is the entry of Surpariakha

soaked in blood, after her ears and nose were cut off, in

SOrpanakhahka Kutiyattam. Surpanakiia comes to the stage

through the audience screaming loudly and wearing the guise as if

she is completely bathed in blood. While running through to the

stage she falls down at many places. In the dim light of the narrow

torch [irkkili pantam) the bloodied costume of Surpanakiia

provides the viewers to a terrifying sight.

60
 In Tapatisamvarana Kutiyattam the heroine acts as if coming

floating through a river. The peculiar arrangement of numerous

threads is what produces the illusion of river among the viewers.

The suicide attempt of Malayavati, the heroine in the play

Nagananda, is known as Kettinanal.^'' The suicide attempt is

enacted inside the kuttambalam on a rope made of clothes

{muntu). This is a rare item of acting.

Satvikabhinaya

Satva is accomplished from the concentration of the mind.

Satvikabhinaya is possible only when the actor leaves behind his

own mental state and enters into the character's state of mind.

The entry of Dhananjaya in Subhadradhananjayam, entry of the

lustful Ravana in Asokavanikaiikam, death of Balin in

Balivadhankam, entry of Ravana in Toranayuddham, etc. are all

examples of satvikabhinaya.

A scene in Balivadhanka (Compassionate - Karuna)

Balin and Sugriva are fighting. Rama, who is a friend of

Sugriva, shoots an arrow at Balin hiding himself from the sight of

Balin. As Balin falls down hit by Rama's arrow, the stage is set for

57. See appendix no. 5.

61
satvikabhinaya. Sadness is the main emotion {Sthayibhava) and

pain the ancillary {Vyabhicaribhava) one. Balin, leaning on

Sugriva's shoulder, walks with faltering steps and lies down on his

back in front of the lamp with half closed eyes. Pain caused by

arrow is the emotion at that moment. Fatigue increases as is

evident from his speech. First sentences are spoken normally, then

sadness takes over. Slowly, Balin enters the realm of death. The

Drsp (sight) loses its focus. As part of the journey towards death,

he exhales the breath Ksudrakan, Tamakan, etc. one after another.

Finally, fixing his Drsp (stare) as in death he falls in a southerly

direction.

Padmasri Ammannur Madhava Chakyar was an expert in

acting Balin's death.

62
APPENDIX 1

1. PATAKA (Flag)

2. MUDRAKHYA

63
 3.KATAKA
(Golden Bangle)

4.MUST1

64
5.KARTARIMUKHA
(Scissor's sharp point)

6. SUKATUNDA
(Parrot's peek)

65
 7. KAPITTHA

8. HAMSAPAKSA
(Swan's wing)

66
 9. SIKHARA (Peak)

10. HAMSASYA
(Swan's wing)

67
 11. ANJALI

12. ARDHACANDRA
(Half Moon)

68
 13. MUKHARA (Mirror)

14. BHRAMARA (Beetle)

69
 15. SUCIMUKHA
(Needle's sharp point)

16. PALLAVA (Sprout)

70
 17. TRIPATAKA

18. MRGASIRSA
• •
(Deer's head)

71
 19. SARPASIRAH
(Serpant's head)

20. VARDHAMANAKA
(Seedling)

72
 21. ARALA (Curved)

22. URNANABHA (Spider)

73
 23. MUKULAM (Bud)

24. KATAKAMUKHAM

74
dix No: 2

Vidusakavesa
Appendix No : 3
The crown of female character (Tiara)

Ke^abharam (Special crown)

 Crown of Sugriva

Crown of Hanuman

77
 Vasika (The crown)

Makutam (Crown)

78
 Cuttittuni (H^ad scarf)

Kuzalu (The crown of Rama)

79
Panakkettu (Panakkettu is the part of crown of Rama)

Breast of Surpanakha

80
 Bracelet of large size

Bracelet

81
 Shoulder bracelet

An ear ornament of Hanuman

82
 Bracelet of female character

Tojvala (Bracelet for the upper arm)

83
Back cloth (it is covered the back side of the crown)

Kundala (An ear ornament)

84
An ear ornament of female character

An ear ornament like flower

85
Pilippattam (A narrow band made of the quil of peacock feathers
used to be worn on the head just above the red band. Now a days
this ornament is made of corals)

Cuvapputuni (Red band, this ornannent worn on the crown)

86
Uttarlyam (Upper cloth, Scapular)

Channapura (Ornament for chest)

87
 Chin of Hanuman

Beard of Bali

88
Marmala (Ornament for the breast)

Garland of Ravana

89
 Katisutra (Waist ornament)

Pozumpu (Necklace)

90
Udyanam (Waist ornament of female characters)

Upper cloth Scapular of female character

91
 Kuppayam (gown)

Uttariyam (Upper cloth, femaie character)

92
 Beak of Jatayu

Wings

93
 Tail of Hanuman

Hair

94
Appedix No : 4
Pacca

95
Pazukka
 Sugriva

Surpanakha
Katti

98
Vellattati

99
Appendix No: 5 KettlFlannal

100