Yakṣagāna

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Abhinav Publications, Jan 1, 1997 - Folk art - 252 pages
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No country in the world is blessed with a greater variety of forms in music, dance and theatre than ours. One of the theatre forms generally described as folk but possessing a strong classical connection is the Yakshagana. Although the name signifies the music of celestial beings, Yakshagana is an amalgam of the sky with the earth. There is both mystery and robustness about this form in which singing and drumming merge with dancing, and words with gestural interpretation, and players clad m costumes of striking colour and contours. It is the cherished cultural possession of the coastal districts of Karnataka. Dr. K.S. Karanth is the foremost living authority on Yakshagana and has been working on all its aspects, namely—dance, music, and literature, since 1930. He has led the way to a deep and systematic study of this art form. He has spent decades travelling to remote villages within Karnataka to inspect and study every Yakshagana manuscript, the earliest going back to A.D. 1651. With his fine literary judgement and aesthetic sensibility, he has traced the changing trends in the performance of Yakshagana. He has interacted with hundreds of Yakshagana artistes to find out what customs in training and interpretation had prevailed earlier and had fallen into disuse and deserved to be resuscitated. He has put together his findings in the shape of two standard books YakshaganaBayalata (1958) in Kannada, and Yakshagana in Kannada and English (1975). The present volume is a revised edition of the earlier book, with additional material and illustrations. It is hoped that the book will provide valuable insights into one of the most attractive and dynamic art forms of our land, as well as into a penetrative mind.
  

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Contents

1 Looking Back and Around
21
2 Presentation of a Play
36
3 Sabhālaksana The Prologue
63
4 The Language Medium
68
5 Yaksagāna
82
6 Dance
103
7 A Medium of Fantasy Costumes and Makeup
119
8 Antiquity of Yaksagāna Tradition
147
11 Tradition Made More Relevant
175
Appendix I BABHRUVĀHANA KĀLAGA
197
Appendix II
214
Appendix III
217
Appendix IV CHOREOGRAPHYPĀNDAVA ODDŌLAGA
221
Appendis V YAKSAGĀNA RĀGAS
227
Appendix VI THE YAKSAGĀNA THEATREA BHIMANYU VADHA SYNOPSIS
237
Index
249

9 Yaksagāna and its Variants
155
10 Playwrights and Plays
160

Common terms and phrases

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