KOODIYATTAM
Koodiyattam is the sole surviving
classical Sanskrit theatre in India. It is a two thousand year old
theatre-tradition. Traditionally Koothu and koodiyattam are the privileges of
the temple castes Chakyars (the women of the Nambiars) enact the male-characters.
Nambiars play Mizhavu, the major percussion-instrument in Koodiyattam. The
plays of Kulasekhara, Sakthibhadra, Bhasa kalidasa and Bodhayana enacted act by
act in Koodiyattam. The four-fold concept of acting dealt with in the
Natyasastra, stage Bharata's ancient dramaturgy, find its due significance in
Koodiyattam. Angika (hand-gestures and body-movements), Vachila (verbal
acting), Aharya (makeup and costuming) and Satwika (facial expressions) in
Koodiyattam are highly stylised. One finds in koodiyattam more of Natyadharmi
(stylized acting) compared to other classical art forms. 
A part from the epic heroes,
heroines, villains and demons there is the Vidooshaka (royal clown) who speaks
three languages, Sanskrit, Prakrit (crude from of sanskrit), and the local
dialect (Malayalam). His words and actions convincingly portray the true
character of the protagonist. In the past he was a social auditor. His
diatribes against the establishment and those in power were a corrective force
in the feudal-society. The main characters in Koodiyattam customarily enact
'Nirvahana'; a recollection of past events in the play to form a backdrop for
stepping into the present.
Nangiarkoothu' is the counterpart
of Koodiyattam. It is in essence the Nirvahana of the female characters.
Nangiar in forty one days enacts "Sreekrishna Charita" (the story of
lord Krishna). She appear on stage as the Chedi (Maid) of Subhadra in play,
Subhadradhananjayam of king Kulasekhara. Theatre artists, choreographers and
theatre researchers of the west and the east are keenly interested in the
aesthetic-dimensions of both Koodiyattam and Nangiarkoothu. They come quite
often to Kalamandalam for an intimate observation and analysis of their theatre
traditions.
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