Classical idioms
K. PRADEEP
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A Koodiyattam-Kathakali workshop delved into the technical, aesthetic similarities and differences in these art forms.
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In both these art forms narration is through mudras.
Stylistic variations: (clockwise from left) Lecture-demonstrations by Margi Madhu and Kalamandalam Sreekumar; Koodiyattam and Kathakali complement each other but still retain their identities.
Experience is unlimited, it is never complete. It is something that goes beyond knowledge and understanding. This is what makes the classical art forms of Koodiyattam and Kathakali simultaneously distinct and correlative. The one-day Koodiyattam-Kathakali workshop, organised jointly by the International Centre for Koodiyattam and Tripunithura Kathakali Kendram, delved into the technical and aesthetic similarities and also the differences in these art forms.
There was a time in the past when the Chakyars refrained from watching Kathakali as they feared it would influence their art form. It was Painkulam Rama Chakyar who put their fears aside, encouraged his students at Kalamandalam to watch all art forms and even went on to introduce certain elements from those art forms to Koodiyattam.
The give and take was mutual and today these art forms have complemented each other, yet managed to retain their identities.
“Koodiyattam, even while growing, has shrunk. From multi-actor plays, it has now become one-actor performance facilitated by the ‘pakarnattam’ technique. Kathakali is a much more developed theatre form, while Koodiyattam is an actor’s theatre.”
“Both these art forms have more-or-less done away with the ‘vaachika’ element. In Koodiyattam music has a very limited role and in Kathakali it has more importance. It helps in maintaining the super-human, transcendental image of the characters. Imagine the state if an actor breaks into song or dialogue. It would be such a disgrace in the minds of the audience,” says K.G. Paulose, vice-chancellor, Kerala Kalamandalam Deemed University.
The workshop was spearheaded by Margi Madhu and Kalamandalam Sreekumar. “Personally, I feel the difference is in the ‘abhinaya.’ In Koodiyattam it is precise while in Kathakali it is much more comprehensive. I have always felt that ‘abhinaya’ in Koodiyattam very often goes beyond logic, like in the death of Bali. This is because the focus here is on the possibilities of abhinaya. Kathakali is much more complete with a beginning, middle and end. That is why it becomes more enjoyable, a complete theatre,” feels Madhu.
Focus on mudras
The morning session of the workshop focussed mainly on the mudras and its use in both the art forms. “In both these art forms, narration is through mudras. Mudras are to acting what the alphabet is to language. The basic source for both is the ‘Hastalakshana Dipika’ (text for theatre, abhinaya and mudras). Gestures have specific meaning in Koodiyattam, each mudra has a beginning, progress and an end. In recent times one notices changes and influences of other art forms like Kathakali in the use of mudras,” says Madhu.
“In Kathakali,” Sreekumar explains, “mudras are taught systematically and it is based on the ‘Hastalakshana Dipika.’ They form a very important part of the training and also of the performance itself.”
Both the artistes then went on to demonstrate the frames of the mudras, or the distance and positioning of the gestures, various other similar and dissimilar ones used in Koodiyattam and Kathakali. In the afternoon session Madhu and Sreekumar explored the text and how it is handled in Koodiyattam and Kathakali. It was followed by demonstrations by Indu G. and Sreekumar on images and how they connect to characters. ‘Padapurappadu’ by Indu and Ranjini Suresh completed the fruitful, educative and interactive workshop.
Madhu and artistes of Nepathya, Moozhikulam, enacted ‘Kalyana Sougandikam’ in Koodiyattam while performers of Tripunithura Kathakali Kendram provided a perfect stage to gauge all that was discussed and debated the whole day.
At the end of it all one was reminded of the French Kathakali artiste Milena Salvine. She was instrumental in staging both Kathakali and Koodiyattam for the first time in Paris, at the same venue. “When I asked her what she and the Western audience thought about the two art forms, she said that Kathakali had the power to excite and exhilarate, Koodiyattam created a contemplative, calm mood,” remembered Paulose.
Whatever be the differences and similarities between them, it is the experience that makes them classical, invaluable, and so singular.
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