Dancing the Ritual on the Kūṭiyāṭṭam Theatre Stage

Until the 1960s, Kūṭiyāṭṭam**—India’s Sanskrit theatre—was exclusively performed in Hindu temples of Kerala by an ensemble of three ritual performers of high status: the Cākyār actor-master, the Nampyār percussionist, and the Naṅṅyār reciter, cymbalist and actress. Within this devotional context, K...

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Autor principal:	Virginie Johan
Formato:	article
Lenguaje:	EN
Publicado:	Ksiegarnia Akademicka Publishing 2017
Materias:	Kūṭiyāṭṭam Sanskrit theatre Hinduism dance ritual performative literature in Malayalam Indo-Iranian languages and literature PK1-9601 Languages and literature of Eastern Asia, Africa, Oceania PL1-8844
Acceso en línea:	https://doaj.org/article/e1fac23b1e484d01882a91c8c4906f77
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id	oai:doaj.org-article:e1fac23b1e484d01882a91c8c4906f77
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spelling	oai:doaj.org-article:e1fac23b1e484d01882a91c8c4906f772021-11-27T12:54:30ZDancing the Ritual on the Kūṭiyāṭṭam Theatre Stage10.12797/CIS.19.2017.01.051732-09172449-8696https://doaj.org/article/e1fac23b1e484d01882a91c8c4906f772017-06-01T00:00:00Zhttps://journals.akademicka.pl/cis/article/view/74https://doaj.org/toc/1732-0917https://doaj.org/toc/2449-8696 Until the 1960s, Kūṭiyāṭṭam**—India’s Sanskrit theatre—was exclusively performed in Hindu temples of Kerala by an ensemble of three ritual performers of high status: the Cākyār actor-master, the Nampyār percussionist, and the Naṅṅyār reciter, cymbalist and actress. Within this devotional context, Kūṭiyāṭṭam, whose essence is theatre (nāṭya), is considered an offering of ‘dance’ (nṛtta) to the main divinity. Furthermore, the performative cycles, lasting from three to forty-one days, incorporate dances known as ‘kriya’, literally ‘what has to be done’ or ‘action’, designating the ritual action here. This paper attempts to complement previous studies based on the Indian theory of theatre, by questioning the uses and roles of dance in the Kūṭiyāṭṭam theatrical sphere and tackling the issue of boundaries between dance and dramatic action. The study draws on long-range anthropological research as well as on the Kūṭiyāṭṭam literature, especially the Cākyar’s acting and production manuals (āṭṭaprakāram and kramadīpikā) written in Malayalam, three of which are composed for the performance of the following Sanskrit plays: Bālacaritam and Abhiṣekanāṭakam of Bhāsa, and Āścaryacūḍāmaṇi of Śaktibhadra. Virginie JohanKsiegarnia Akademicka PublishingarticleKūṭiyāṭṭamSanskrit theatreHinduismdanceritualperformative literature in MalayalamIndo-Iranian languages and literaturePK1-9601Languages and literature of Eastern Asia, Africa, OceaniaPL1-8844ENCracow Indological Studies, Vol 19, Iss 1 (2017)
institution	DOAJ
collection	DOAJ
language	EN
topic	Kūṭiyāṭṭam Sanskrit theatre Hinduism dance ritual performative literature in Malayalam Indo-Iranian languages and literature PK1-9601 Languages and literature of Eastern Asia, Africa, Oceania PL1-8844
spellingShingle	Kūṭiyāṭṭam Sanskrit theatre Hinduism dance ritual performative literature in Malayalam Indo-Iranian languages and literature PK1-9601 Languages and literature of Eastern Asia, Africa, Oceania PL1-8844 Virginie Johan Dancing the Ritual on the Kūṭiyāṭṭam Theatre Stage
description	Until the 1960s, Kūṭiyāṭṭam**—India’s Sanskrit theatre—was exclusively performed in Hindu temples of Kerala by an ensemble of three ritual performers of high status: the Cākyār actor-master, the Nampyār percussionist, and the Naṅṅyār reciter, cymbalist and actress. Within this devotional context, Kūṭiyāṭṭam, whose essence is theatre (nāṭya), is considered an offering of ‘dance’ (nṛtta) to the main divinity. Furthermore, the performative cycles, lasting from three to forty-one days, incorporate dances known as ‘kriya’, literally ‘what has to be done’ or ‘action’, designating the ritual action here. This paper attempts to complement previous studies based on the Indian theory of theatre, by questioning the uses and roles of dance in the Kūṭiyāṭṭam theatrical sphere and tackling the issue of boundaries between dance and dramatic action. The study draws on long-range anthropological research as well as on the Kūṭiyāṭṭam literature, especially the Cākyar’s acting and production manuals (āṭṭaprakāram and kramadīpikā) written in Malayalam, three of which are composed for the performance of the following Sanskrit plays: Bālacaritam and Abhiṣekanāṭakam of Bhāsa, and Āścaryacūḍāmaṇi of Śaktibhadra.
format	article
author	Virginie Johan
author_facet	Virginie Johan
author_sort	Virginie Johan
title	Dancing the Ritual on the Kūṭiyāṭṭam Theatre Stage
title_short	Dancing the Ritual on the Kūṭiyāṭṭam Theatre Stage
title_full	Dancing the Ritual on the Kūṭiyāṭṭam Theatre Stage
title_fullStr	Dancing the Ritual on the Kūṭiyāṭṭam Theatre Stage
title_full_unstemmed	Dancing the Ritual on the Kūṭiyāṭṭam Theatre Stage
title_sort	dancing the ritual on the kūṭiyāṭṭam theatre stage
publisher	Ksiegarnia Akademicka Publishing
publishDate	2017
url	https://doaj.org/article/e1fac23b1e484d01882a91c8c4906f77
work_keys_str_mv	AT virginiejohan dancingtheritualonthekutiyattamtheatrestage
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Dancing the Ritual on the Kūṭiyāṭṭam Theatre Stage

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