He
enjoys unfettered privilege to crack jokes
even at the expense of the dignitaries
present in the audience and the latter
have no right to report. Kudiyattam
is a theatrical art which presents a full-fledged
drama or select portions thereof. More
than two or three actors appear on the
stage at the same time as in a modern
drama. The Chakiar performs the role of
the male characters and the Nangiar that
of the female characters. The Nangiars
also sound the cymbals and recite the
Sanskrit verses which the Chakiar enacts.
A feature of Kudiyattam is that there
is a Vidushaka or clown who recites
the Malayalam translation of every Sanskrit
verse enacted by the Chakiar. The Attaprakarams
and Kramadipika of poet Tolan give
detailed guidance in regard to the mode
of acting.
Kudiyattam
is not today such a popular art as Kathakali
and it is performed only in a few major
temples like Irinjalakuda, Perumanam,
Kottiyur etc. Its failure to reform itself
in response to the needs of changing times
is responsible for the decline in its
popularity as a performing art. Nevertheless,
the contribution of Kudiyattam
to the evolution of the Kerala stage is
substantial. It is performed in temples
within multi-pillared theatres called
Kuthambalams built by expert architects
according to the norms laid down in Bharatamuni's
Natyasastra. The Kuthambalam
is a typical specimen of Kerala architecture.
It is also a store - house of the finest
sculptures, particularity wood carvings.
The ceiling of the Kuthambalam
is a typical specimen of Kerala architecture.
It is also a store - house of the finest
sculptures, particularly wood carvings
and paintings depicting scenes from the
Epics and the Puranas. With Kudiyattam
becoming an obsolete art the Kuthambalams
are no longer constructed in Kerala temples.
The old Kuthambalams in temple
premises now present a deserted look.
It deserts mention that the Kuthambalam
architecture has recently influenced
the construction of a unique theatre or
Natyagriha in the Kerala Kalamandalam
at Cheruthuruthi.
Chavittu
Natakam which is now almost defunct
is theatrical art evolved by the leaders
of the church, under the guidance of the
Portuguese missionaries, as a Christian
alternative to the Hindu Kathakali.
It presents stories from the lives of
Christian saints and the history of Christianity.
Unlike in Kathakali, the actors
in Chavittu Natakam not only speak
and sing but also stamp on the wooden
platform with their feet to the tune of
songs and beating of drums. It is because
acting and stamping from important elements
in Chavittu Natakam that it has
come to be called so. The movements of
the actors on the stage are more lively
and vigorous than graceful or artistic.
Women are not allowed to participate in
Chavittu Natakam. Music, vocal
and instrumental, has an important place
in this art. Though it developed as the
Christian counter part of Kathakali,
the Chavittu Natakam is modeled
more after the European Opera and Ballet
than after Kathakali. The stage
in Chavittu Natakam was an unusually
large one and it could accommodate as
many as fifty actors at a time along with
the members of the orchestra.
In
modern times Malayalam drama as a form
of popular entertainment has acquired
enormous popularity. In the latter half
of the 19th century the translation of
Abhijnana Sakuntalam by Kerala
Varma Valia Koyi Tampuran and its successful
presentation on the stage gave a fillip
to Malayalam drama. The successful enactment
of Tamil musical plays by drama troupes
from Tamil Nadu in different parts of
Kerala helped to hasten this trend. The
composition of a series of short plays
with historical themes by C.V. Raman Pillai
and their enactment by amateur clubs in
Trivandrum marked a turning point in the
evolution of modern Malayalam theatre.
Dramas with social themes soon replaced
historical plays. Special mention may
be made of V.T. Bhattatiripad's Adukkalayil
Ninnu Arangathekku and K. Damodaran's
Pattabakki. With the increasing
popularity Malayalam drama as a medium
of popular entertainment professional
troupes like the KPAC, the Kalidasa Kala
Kendram and Kalanilayam have made their
mark in the field in recent times. Thus
the professional theatre has come to acquire
its place in the social and cultural life
of modern Kerala.
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