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There are eight vital parts in the performance of
this art from the beginning to the end. They are
keli, arangukely (suddamaddalam), thodayam, vandana
slokam, purappad, melappadam, kathabhinayam and
dhanashi. kelikottu is a function intended to
announce the programme to the people nearby.
Kelikottu was extremely important in an era when
there were no printed notices. Chenda, maddalam,
chengila and elathalam are the four instruments used
for kelikottu and to provide the instrumental
background (melam) for kathakali. Arangukeli or
suddamaddalam begins after lighting the lamp for
kathakali.
After playing maddalam for a while, these artists
retreat to a back position of the stage and hold a
curtain (tirassila) in front. The next function is
called thodayam which mark the commencement of the
kathakali. This is a dance to propitiate the Gods
for the unhindered success of kathakali. The actor
sings the songs beginning with Harihara Vidhimuta
and dances according to the four rhythms, chempada,
champa, panchari and muriyadantha.
Earlier, thodayam was performed behind the curtain.
After thodayam, the singers hold the curtain on the
stage and render the greeting slokas. Next is
purappadu which has similarities with the initial
statement in the earlier dramas indicating the
storyline. This is an act that proceeds the actual
story and not a part of it. There are separate
verses and padams composed for purappadu. The actors
appear in the stage for purappadu with the
accompaniment of melkatti, alavattam and the beating
of instruments. After dancing according to the
rhythm, the actor disappears behind the curtain and
reappears. This is repeated four times.
The next stage is called nilappadam. After the
fourth appearance, the musician sings the
nilappadam. Then the actor who performed the
purappadu comes forward, greets the audience and
withdraws. Then the singers and the instrumentalists
come forward and display their skill. This part is
called melappadam. Following melappadam, the
musician sings the slokas for presenting the story
on the stage. Then the characters of the story begin
to appear. Kathi, thadi and kari characters appear
in the statge with tiranottam - the part of the
story will be sung by the singers in the background
and the actors begin their performance by showing
mudras in accordance with the padams.
There are different forms of acting attom. They are
cholliyattom, ilakiyattom, irunnattom, pakarnattom
and tantedattom. Cholliyattom is the most important
and strictly according to established procedure. The
actor can make his own improvisations as he enters
the stage, in the process of cholliyattom and
towards the end. These fall in the sphere of
elakiyattom. The attakkatha literature consist of
both slokas for stage presentation and padams for
dialogue. The story can be presented only if the
actor is well versed in puranic literature. Kalari
and aniyara have a very important place in
kathakali. Kalari transforms an ordinary novice into
a gifted actor. The kalaris follow the gurukula
system of instruction even now.
Aniyara is the place where the elaborate attire that
form a major part of the visual spectacle is made.
The artists of the aniyara perform the face of
transforming an ordinary man into God, asura or
superhuman beings. Dhanashi which is the last part
of kathakali which is a dance by the actor appearing
in the last scene of the story in accordance to the
prayer song sung by the musician from behind. This
is similar to the Bharatavakyam in ancient theatre.
Some musicians used to recite a hymn from the great
Narayaneeyam beginning as Yogeendranam.
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