Sanskrit Plays Used for Kutiyattam

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Relationship Of Dance And Theatre, Study Of Rupaka And Uparupaka, Traditional Theatres Of India

Module 13 Kudiyattam – 1

Kutiyattam / कु टीयाटम, the Sanskrit theatre form from Kerala, was recognised as ‘intangible cultural heritage’ by UNESCO in 2001. Dating back over 2000 years, this is one of the oldest living theatre traditions. Traditionally performed in Kuttampalams / कु त्त륍ऩऱम, which are theatres located in Hindu temples, it was reserved for a particular Brahmin caste, the Chakyars. Performed in Sanskrit, the Kuttiyattam performances would last for hours, and often go on all- night or for several nights. Today it has been adapted for the modern stage: plays have become shorter, the pace has been quickened. Kutiyattam has also faced its own challenges: rapid socio-economic changes have compromised its continuation in an unadulterated form.

“Social changes happening everywhere affected Kutiyattam too,” explains K. K. Gopalakrishnan, director of the Centre for Kutiyattam in Trivandrum. “British rule was disastrous to cultural heritage, temples became poor and peoples’ priorities changed. Few people have the time to watch performances which last a full night and even whole days. Other factors which put the tradition at risk were the fading of the joint family system, changes in the class system,

1 population movement and opportunities for high-income employment. On the other side, temples became poor due to social changes and income from the performances declined. As a result, fewer people are committed to take up the art. But even then, a few gurus of each generation preserved the art and never allowed that fire to die. For example, in 1956 late guru Painkulam Ramachakyar /

ऩैनकु ऱम रामचाक्या र took Kutiyattam outside the temple precincts amid strong opposition from his own clan and the orthodox and in 1965 the Kerala Kalamandalam institutionalised the training of Kutiyattam by starting a course for the first time outside the home of a Chakyar. In this way Painkulam was the first guru to train members of other communities to take up the art.”

And has UNESCO status helped to preserve this ancient theatre form? Gopalakrishnan remains optimistic: “In the changing social scenario such recognition helps, for example, to get more outreach and funding and it also gives more global publicity to the form. But one should not forget that the system is sustained only through committed gurus and devoted disciples who are prepared to preserve the form at any cost and not only through any such mere recognition”.

Kutiyattam is the traditional presentation of classical Sanskrit theatre on the Kerala stage. It is one of the oldest continuously performed theatre forms in India, and it may be the oldest surviving art form of the ancient world. Although the precise links between it and the ancient Sanskrit theatre have not yet been determined, Kutiyattam is probably a regional derivation of the pan-Indian classical tradition, a bridge between the past and present.

HISTORICAL BACKGROUND:

No one knows exactly when Kutiyattam came into being but in Chilappatikaram / शिऱऩददकारम composed by Tamil poet Ilango Adigal / ईऱा車गो अडिगऱ , roughly 1800 years back, there is reference to the enactment of the story of the burning of Tripura (Tripuradahanam) by Parayur Kuttachakaiyan (Paravur Chakyar). Based on this, Kutiyattam is believed to date back to about two thousand years.

However, Kutiyattam as it exists today was remodeled during the time of Kulasekhara / कु ऱसेखर, the author of Subhadradhananjaya and Taptisamvarana. This Kulasekhara seems to have been none other than Bhaskara Ravi Varma / भास्कर रवि िमाा who ruled from 978 to 1036 A.D. He also seems to have written Vyangyavyakhya / 핍य車ग्य핍याख्य, a critique, after seeing the stage production of both these plays. Kulsekhara, along with his friend Tolan, a vernacular poet who was a great humorist and a connoisseur of drama, thoroughly modified Kutiyattam. The innovations attributed to Tolan and Kulasekhara are mainly:

(a) For the Vidushaka’s verbal narration, apart from Prakrit, Sanskrit words, Malayalam interpretation and counter verses to the hero’s slokas were introduced. (b) The addition of the humorous element by introducing extraneous matter such as the parody on the four Purusarthas. (c) The hero’s verses were codified, first by analyzing their word meanings, then elaborating them through angika and satvika abhinaya and re-enacting them in their sequential order.

(d) For elaborating the previous story, the convention of Nirvahanam / ननिााहणम was introduced.

(e) For composing Attaprakara-s / अट्टाप्रकार and Kramdipika-s / क्रमदीवऩका; but it is clear that from time to time, many elements were added on them.

During ancient times, Sanskrit plays were enacted as dance-dramas in many parts of India. Kutiyattam can be regarded as a regional adaptation. Many scholars have found a close similarity between Kutiyattam and the description of Damodar gupta’s production of th Ratnavali / रत्नािऱी in Kashmir in the 9 century A.D.

THE PERFORMERS:

The performers of Kutiyattam do not have the right to perform the most sacred and intimate scarifies close to the deity, as do the Namboodiri / ना륍बूददरी Brahmins, but they do have the right to perform plays as a “visual sacrifices” in honor of the deity. According to tradition, families of actors and musicians, belonging to particular castes of temple servants, hold the exclusive right to perform in the Kerala temples. The art of staging the Sanskrit plays in Kerala has been handed down from generation to generation as an exclusive hereditary profession by the Chakayars and the Nambiars. In some temples performers of one and only one family maintain the right to perform Kutiyattam.

The real actors are the Chakayars, and the women of the Nambiar community called Nanyars. The Nambiar plays on the big drum called

Mizhavu with bare hands, hence he is called Panivada / ऩाननिाद. The Nambiar also narrates in the local Malayalam language the introductory stories; texts used for such explanations, called th Mardangika Tamil are referred to in the 15 century work Lilatilaka / शऱऱानतऱक, as belonging to the pure language different from the Manipraval. The Nanyar’s duty is not only to play the role of the female characters in the play wherever required, but also to sing songs/shlokas and to use the cymbals to keep the Tala. The women of the Chakayar community are called ‘Illottamma / इ쥍ऱोत्तम’; they have nothing to do on the stage.

According to tradition, there were 18 Chakyar families, but now there are only six.

(a) Ammannur / अ륍मानुर (b) Kitannur / ककतन्नुर (c) Kaippa / कैप्ऩ (Painkulam / ऩैनकु ऱम) (d) Maniyur/मननयूर (e) Kuttanceri / कु ट्टनचेरी (f) Potiyil / ऩोनतनयऱ

There are many popular anecdotes about the sense of humor and the presence of mind as well as the power of acting of the Chakayars in ancient times. Among other well-known Kutiyattam exponents and teachers were Rama Chakayar of the Painkulam, Madhav Chakayar of the Maniyur family and Madhav Chakayar of the Ammannur family.

SANSKRIT PLAYS USED FOR KUTIYATTAM:

Though Kutiyattam is the enactment of Sanskrit plays, usually a full- length play is not taken; only an act from it is presented on the stage.

Even the enactments of individual scenes are adequate for aesthetic appeal, for each act has its own sthayi rasa. Thus, in Kutiyattam, a full play is not as relevant as its separate acts. The individual acts are treated as full-fledged plays in themselves, and given different names.

The dramas presented on Kutiyattam stage are:

(a) Plays ascribed to Bhasa:

(1) Abhisheka (Valiya/Big Abhisheka)- Act I Balivadham Act II Hanumaddutam Act III Toranayuddham Act IV Samudrataranam Act V Mayasiras Act VI Prathamdvitiyankam Act VII Pattabhisekam

(2) Pratima (Paduka Abhisheka)- Act I Vicchinnabhishekankam Act II Vilapankam Act III Pratimankam Act IV Atavyankam Act V Ravanankam Act VI Bharatankam Act VII Paduka Abhishekankam

(3) Swapnavasavadatta –

Act I Brahmacharyankam

Act II Pantattankam

Act III Poothootankam

Act IV Sephalikankam Act V Swapanankam Act VI Chitraphalakankam

(4) Pratijnayaugandharayana –Mantrankam, Mahasenankam, Arattankam (5) Balacarita - Mallankam (6) Dutavakya (7) Karnabharam (8) Dutaghatotkacha (9) Charudatta - Vasantasenankam (10) Madhyamavyayoga (11) Pancharatra – Vettankam and Bhimadutankam (12) Avimaraka –Act I Anottankam Act II Dutankam Act III Abhisarikankam Act IV Parvankam Act V Matamettankam

(b) Two farces/prahasanas: (1) Mattavilasa of the Pallava king Mahendra Vikramavarma (2) Bhagavadajjuka of Bodhayana

(2) Tapatisamvarana by Kulasekhar (3) Kalyanasaugandhika by Nilakanthakavi (4) Ascharyachudamani (Cheriya/Small Abhisheka) by Saktibhadra

Act I Parnasalankam Act II Surpanakhankam Act III Mayasitankam Act IV Jatayuvadhankam Act V Asokavanikankam Act VI Anguliyankam Act VII Agnipravesankam

(e) Plays of Kalidasa: (1) Shakuntala (2) Vikramorvasiya (first part)

PERFORMANCE STYLE:

Performance styles of the temple art form are called Kuttu/कु ट्टू, and there are 3 types of Kuttu:

(1) Prabandha Kuttu/प्रब車ध कु ट्टू : Its gives emphasis to the verbal (vachika) mode of presentation. Here, Sanskrit narrative poems (prabandhas) are taken up and interpreted in detail, using a

simple yet metaphorical language imbued with humor, satire and double meaning, and interspersed with reference to topical events. In this, the Chakayar narrates the story, while the Nambiar plays on the mizhavu.

(2) Nangiyar Kuttu / नान्न्गयर कु ट्टू : Its lays stress upon histrionic acting (angikabhinaya). Adapted from the introductory scene of Subhadradhananjaya, this art form presents the story of Krishna in the form of Nirvahanam enacted by the Nangiyar as a female attendant of Subhadra. There is no place for humor; the Nangiyar acts and the Nambiar plays on the mizhavu.

(3) Kutiyattam: Kutiyattam is a combination of two Malayalam words, Kuti - to join and attam – acting. It signifies the process of joining with others in acting. In the initial days of performance, acting is devoted to ‘Nirvahana’ – retrospection. It is solo acting (ek-aharya / एक-आहाया). The text is presented only after the principal characters have completed mono acting. Kutiyattam as an art form gives scope for combined acting by several characters in the play. Hence the term Kutiyattam, originally denoted this multiple acting (anekaharya / अनेकाहाया). In Kutiyattam, while the hero and the heroine primarily employ angika and sattvika abhinaya the Vidushaka resorts to vachika, which is conveyed through prose, verse, music, Vidushaka’s Tamil, Prakrit and Malayalam. Thus it is an integration of several modes of acting, forms of drama and types of actors.

TEMPLE THEATRE, KUTTAMPALAM:

Kutiyattam was performed only in temple theatre – “Kuttampalam” till recently. Kuttampalam is the Malayalam name used for the theatre structure in the precincts of temples in Kerala. The Kuttampalam of Kerala is different from the Bharata’s ‘Natyamandapa’ and it is built based on Sanskrit texts of Kerala:

th (1) The Silparatna / शि쥍ऩरत्न of Srikumara / श्रीकु मार (16 century) (2) The Tantrasamuccaya / त車त्रसमु楍चय of Narayana / नारायण (15th century)

More than a dozen such theatres are still preserved in various temples; the present structures of the Kuttampalam are not much older than 300 years. The theatre at the Vadakkunnatha/ििक्कु न्नथ temple at Trichur is the largest.

Location:

“Devasyagre dakshinato rucire natyamandape

Sarvam samacaret natyamandapesu yathocitam”

Sloka mentions the position of the Kuttamapalam: “The theatre- house is situated in front of the sanctum, on the right-hand side. It should have all the appropriate decorations.”

Types of Structure:

Most of the Kuttamapalams are of a rectangular shape; the interior stage structure within the auditorium is square but the one at

Chengannur was oval-shaped. It has 3 main parts: the roof, the superstructure and the stone adhisthana / अधधस्थान.

The Auditorium:

The inside of a Kuttampalam is divided into two equal portions:

(1) For the audience – Preksagraham / प्रेऺाग्रहम

(2) For the performer – Rangmandapam / र車गम車िऩम

The Rangmandapam is divided into three portions:

(1) The area of performance – Abhinayasthanam / अशभनयस्थानम (2) The space for placing the Mizhavu – Mridangapadam /

मदृ 車गऩदम ् (3) The green room – Nepathyam / नेऩथ्यम

The position of the Chakayar’s feet was to be at the same level at which the idol’s feet were placed in the Srikovil thus equating him to the deity. Kuttampalam are to be found in the temples of Guruvayoor, Koodalmanikkam, Tirumandhankunnu, Tirunakkara, Peruvanam, Punnattur, Moozhikkulam, Kidangoor, Tiruvegappura, Haripad, Arpukkara, Tiruvarpu and Tiruvalattur.

RANGAPRASADHANA / र車गप्रसाधन – THE DECORATION OF THE STAGE:

A big lamp (Nilavilakku / नीऱविऱक्कू ) which is about four feet high and made of bell-metal, is placed in front of the stage, lighted with oil

11 and wicks, two wicks facing the actor and one facing the audience. This is the chief source of light in the theatre.

The decoration of the stage, Rangaprasadhana / र車गप्रसाधन, is done with

 On the right side of the lamp - the cylindrical measuring vessel called para / ऩरा filled with unmilled rice and coconut flowers (Nirapara / ननरऩरा).  Besides light – on a plantain leaf -- ‘Astamangalya / अष्टमा車ग쥍य’ - auspicious things, bunches of tender coconuts, plantain trees with fruits, red silk, etc. The pillars are covered with unbleached clothes and decorated with plantain trees having fruits and bunches of coconut and areca nut fruits.

Mizhavu is placed on its wooden stand at the back of the stage and covered with unbleached cloth. There will be one stool on the stage for the actor to sit when necessary.

PANCHAVADYA, INSTRUMENTAL MUSIC:

 There are five main items in the instrumental orchestra for the Kutiyattam. They are referred to as Panchavadya/ऩ車चिा饍य:

(1) Mizhavu – The most important instrument in Kutiyattam. The mizhavu is placed inside the Kuttampalam in

Kutapasthana, and its mouth is covered by leather. The swaras (notes) that emanate from the mizhavu are udattam, anudattam, svaritam and plutam. (2) Talakkoottam / Kuzhittala (a pair of small cymbals) – Kuzhittala is played by the Nanyar sitting on a cloth placed to the right of the right Mizhavu. (3) Idakka – Small but delicate and sensitive drum called Idakka, played with a small stick by an artist standing near the left Mizhavu. (4) Kuzhal (pipe) – wind instrument. (5) Sankha (conch-shell).

TALAS:

 Tala is dependent on

 Vadya (instrumental music)  Gita (vocal music)  Nritta (dance)

 The main talas in Kutiyattam are

 Ekatala  Dhruvatala  Triputa tala  Champatala  Atantatala  Chempatatala  Lakshmitala

The talas are used according to the

 Rasas  Swaras  Abhinaya  Character  Kriya

PERFORMANCE:

In Kutiyattam, the ‘Performance Structure’ lays stress on:

 Introduction of characters.

 Elaboration of the details of the story/text.  An actor’s individual performance rather than an ensemble playing.

It means, the Kutiyattam ‘Performance’ –

 Departs radically (de-emphasizes) from the story/text of the drama.  De-emphasizes the notion of the drama as a total, integrated, artistic unit.

The interpretation and commentary are so complex and detailed that Kutiyattam does not present entire drama in a single night. Only one selected act of the drama is presented at a time; each act of the drama has its own title and is meant to be performed in its own entity. But the mode and style of abhinaya/enacting are so elaborate and digressive that even a short episode or dramatic situation becomes a very long piece of acting. Even within each scene, a performer may spend up to an hour, illuminating a single line of the text by interpreting and making political and social analogies,

14 exploring emotional associations and telling related stories or peripheral events, thus taking 5 to 35 nights to present even a single act.

The Kutiyattam performance-enactment of Sanskrit drama is an elaborated ritualistic affair involving following aspects:

(1) Purvaranga - The preliminaries rites:

The preliminaries of the enactment consist of,

 Talayilkettuka - Offstage ceremonial preparation

 Aranguvitanam – the decoration of the stage  Purappadu – first entry of the Sutradhara / important character

When purvaranga is over, it is customary to preface the dramatic performance by a ‘flash-back’ method of narration of the previous story. It has three parts.

(1) Anukarma – denotes the narration of a story backwards in the form of a series of questions, from the time of the entry of the character

(2) Samksepa – at the very beginning of the whole episode, a previous story is briefly mentioned (3) Nirvahana – recapitulation of past incidents (4) Kutiyattam – proper presentation/performance of the dramatic text (5) Mutiyakkitta – concluding ceremony/rituals

1st to 4th and 6th are ekaharya (mono performances) and 5th is anekaharya (multi-charactered). When only one act is enacted, the presentation of the plot of the drama is left incomplete and truncated. To rectify this defect the Chakyars have invented a device – they add an account of the past life of the important characters of the drama. This addition made to the original text of the drama is called “Nirvahanam”, which is completely the work of the Chakyars; the original author of the drama has nothing to do with it. The characters of most of the dramas are all puranic; so in preparing the “Nirvahanam” Chakyars draw their materials from the puranic sources. Another unique structural feature of Kutiyattam is that it permits several actors to perform the same role on different occasions.

In addition to the continuous tradition of the method of staging handed down from generation to generation, there are actual stage manuals giving choreographic details and elaborate instructions regarding the staging of plays.

These stage manuals are,

 Kramadipika – Production Manual:

It deals with the costumes of characters, the points to be noted when an actor does a role, assumes the roles of various characters, like when he recalls old events, how to cover up digressions, annotations and descriptions with the story proper, the dance steps to be done at various points, the swara to be used, etc. written in Sanskrit, Malayalam, or a mixture of both.

 Attaprakaram – Acting Manual:

The word means ‘the way of acting is to be done’. It gives details of the abhinaya to be done written in Malayalam. It also gives verses to be used for nirvahana. The way each verse has to be enacted, is given in detail. The mood, the dance steps, the swaras, the tala, etc. are mentioned in them. It indicates acting methods, the meaning of passages in the text and is in the form of a continuous, moving story, enabling the actor to expound the text accurately.

Besides, there is the text in Malayalam which is to be spoken by the Vidushaka; it explains the meanings of the Sanskrit passages spoken by the hero, and contains the matter which is added to produce humor. Some of the commentaries on Sanskrit dramas also contain much useful material for the actor. The story of the scenes which are to be enacted is summarized in archaic Malayalam sentences; this part is recited by the Nambiar at the beginning of the performance and is called ‘Nambiarute Tamil’.

The actors themselves act the verbal portion as in the text in prescribed ragas. The actor explains every verse elaborately. He enacts it in four ways:

(1) Recites the verse with hand gestures (2) Enacts it without recitation (3) Narrates the meaning in prose order (4) Elaborates the meaning and significance of the verse

While describing, the actor can depart from the text and explain things according to his imagination – ‘manodharma’.

CHAKSHUSH NATYA YAJNA:

Kutiyattam perhaps lays more emphasis on religious rituals than any other art form. Kutiyattam is a ritualistic theatre – chakshush natya yajna which, once commenced, should not be stopped till its successful completion.

The three lighted wicks in the lamp on the stage signify the presence of the trimurtis – Brahma, Vishnu and Mahesh and also represent the three fires in yagasala. Removal of the three wicks at the end of the performance symbolizes the end of yajna.

When the actor gets attired he ties a red band round his head. Once he ties a red band, he need not observe pollution even if it occurs. The actor has changed over to the character.

‘Mutiyakkitta’, which is recited at the close of Kutiyattam, is also an invocation to God, like Akkitta – the Dhruva verses. After this, the Chakayar washes his feet, takes a wick from the lamp, puts it out and lights it again. This mode of salutation to God has a close resemblance to the rituals propitiating Bhagavati, the Goddess.

CONCLUSION:

 From the point of view of what the performance communicates, Kutiyattam may be thought of as the theatre of

imagined reality. The prevalence of a Sanskrit theatre in Kerala acquires special importance in the understanding of the Natyashastra and the actual stage practices of ancient India. The Kutiyattam theatre, however, seems to deviate significantly

18 from Bharata’s tradition because of many improvisations and new rituals probably introduced at a later time.