Kathakali Dance-drama: Where Gods and Demons Come to Play

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Psychology Press, 2000 - Performing Arts - 260 pages
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Kathakali Dance-Drama provides a comprehensive introduction to the distinctive and colourful dance-drama of Kerala in South-West India for the first time. This landmark volume:
* explores Kathakali's reception as it reaches new audiences both in India and the west
* includes two cases of controversial of Kathakali experiments
* explores the implications for Kathakali of Keralan politics
During these performances heroes, heroines, gods and demons tell their stories of traditional Indian epics. The four Kathakali plays included in this anthology, translated from actual performances into English are:
* The Flower of Good Fortune
* The Killing of Kirmmira
* The Progeny of Krishna
* King Rugmamgada's Law
Each play has an introduction and detailed commentary and is illustrated by stunning photographs taken during performances. An introduction to Kathakali stage conventions, make-up, music, acting, and training is also provided, making this an ideal volume for both the specialist and non-specialist reader.
 

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Contents

An Ocean of Possibilities
1
A Social History of Kathakali Patronage Connoisseurship and Aesthetics
17
Kathakali Texts in Performance
39
What Does it Mean To Become the Character? Kathakali Actor Training and Characterization
65
The Flower of Good Fortune Kalyanasaugandhikam Kottayam Tampuran
101
Commentary
113
The Killing of Kirmira Kirmiravadham Kottayam Tampuran
118
Commentary
130
Commentary
169
For Whom is the King a King? Issues of Intercultural Production Perception and Reception in a Kathakali King Lear
177
When Marx met Imperialism on the Kathakali Stage
196
Whose Gods and Whose Demons Dance?
206
Kathakali Performances on Video
209
Notes
212
Bibliography and References Cited
231
Glossary and Table of Transliteration
242

The Progeny of Krishna Santanagopalam Mandavappalli Ittiraricha Menon
135
Commentary
151
King Rugmamgadas Law Rugmamgada caritam Mandavappalli Ittiraricha Menon
159

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About the author (2000)

Zarrilli is Professor of Theatre and Performance Studies at the University of Surrey.

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