{"title":"Aṅgulīyāṅkam, Rāmāyaṇa-Vēda of the Cākyārs","authors":"Virginie Johan","doi":"10.1093/oso/9780199483594.003.0011","DOIUrl":"https://doi.org/10.1093/oso/9780199483594.003.0011","url":null,"abstract":"\u0000 Aṅgulīyāṅkam, the Act of the Ring, is the performance of the sixth act of Śaktibhadra’s Āścaryacūḍāmaṇi according to the Kūṭiyāṭṭam tradition of Kerala. The Cākyār masters consider it as a ‘veda’ for pantomime, and for the traditional Rāmāyaṇa repertoire. They perform it as a kūttu, mono-action, according to their Malayalam acting manual (āṭṭaprakāram) for twelve days in five Kerala temples. On the base of this text and of its performance, this paper shows how the kūttu condenses almost the entire Rāmāyaṇa repertoire of Kūṭiyāṭṭam in a complex, unique and unifying structure, and analyses its epic dramaturgy. Johan underlines how the dramaturgy is based on arresting time either on the multiple levels of the dramatic fiction or on the level of the performance.","PeriodicalId":247301,"journal":{"name":"Two Masterpieces of Kūṭiyāṭṭam","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127841119","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Reflection and Aruḷ","authors":"Hemdat Salay","doi":"10.1093/oso/9780199483594.003.0006","DOIUrl":"https://doi.org/10.1093/oso/9780199483594.003.0006","url":null,"abstract":"This essay focuses on the role of Lord Śiva, the deity who is the main subject of the Mattavilāsam, a three-day Kūṭiyāṭṭam masterpiece that also explores the origin of this art form; but also on Śiva as the crypto-identity of Vasantaka, the clown narrator of Mantrāṅkam. Hemdat Salay shows how through the performance of these two texts, the deity is made present in visible form on stage. The call to Śiva is the aruḷ driving the plot and the play, meaning the active and full presence of the deity in his complete, multifaceted, and contradictory form. In this case, the comic and ridiculous nature of the clown fully expresses the always playful deity and enables them to meet and unite.","PeriodicalId":247301,"journal":{"name":"Two Masterpieces of Kūṭiyāṭṭam","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115767259","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Some Remarks on the Āścaryacūḍāmaṇi","authors":"Lyne Bansat-Boudon","doi":"10.1093/oso/9780199483594.003.0002","DOIUrl":"https://doi.org/10.1093/oso/9780199483594.003.0002","url":null,"abstract":"Lyne Bansat-Boudon gives us a ‘thick description’ of Śaktibhadra’s Āścaryacūḍāmaṇi, from which the act Aṅgulīyāṅkam is taken. She defines powerful thematic emphases and focuses on the special expressivity of this work within the classical tradition and in light of the Nāṭyaśāstra and Abhinavagupta’s commentary. Further, she discovers surprising continuities between structural features discussed by Abhinavagupta and the living performance tradition of Kūṭiyāṭṭam. She further emphasizes that the preparation of the clearing also alludes to the pūrvaraṅga, those semi-ritual and semi-theatrical preliminaries to the performance of dramatic fiction. She concludes by saying that the yogin and the spectator of drama have in common such a ‘recognition’ of the Self (which is none other than their own Self)—a transitory experience for the spectator but one established once and for all for the yogin, who is thus nothing but an ‘emancipated spectator’.","PeriodicalId":247301,"journal":{"name":"Two Masterpieces of Kūṭiyāṭṭam","volume":"114 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123368538","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The World of Hanumān","authors":"E. Cohen","doi":"10.1093/oso/9780199483594.003.0013","DOIUrl":"https://doi.org/10.1093/oso/9780199483594.003.0013","url":null,"abstract":"The author gives a full-fledged report on a performance of Aṅgulīyāṅkam lasting 29 nights that she witnessed in 2012 at the Nepathya centre in Moozhikkulam. She posits interesting connections with the different cultural devices used during the performance, especially the ritual ones, and she shows that there is no opposition between ritual and aesthetic, but, on the contrary, that it is precisely the ritual aesthetic that permits the smooth world of Kūṭiyāṭṭam to work. The anthropological approach offers an in-depth reflection on the idea of ‘continuous’ and ‘non-representation’ as triggers of the motility and constant need of sustaining action in and of Kūṭiyāṭṭam: linearity, directionality and causality become merely one out of a myriad of options. She describes the traumatic life experiences that the audience relives during and after the twenty-second day’s performance. Even the actors tell of changes in their mode of consciousness on stage and during the entire period of the play.","PeriodicalId":247301,"journal":{"name":"Two Masterpieces of Kūṭiyāṭṭam","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133543075","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Vasantaka","authors":"Indu G.","doi":"10.1093/oso/9780199483594.003.0007","DOIUrl":"https://doi.org/10.1093/oso/9780199483594.003.0007","url":null,"abstract":"This contribution deals with some special roles in the Kūṭiyāṭṭam tradition: the Vidūṣaka and the story teller. By giving a description of the story development in Mantrāṅkam, the author, who is an experienced Kūṭiyāttam actress herself, offers some interesting reflections on the development of the figure of the “jester” taking into account the historical background. Indu G. guides us through the structure of the play that continues until the thirty-seventh day and also explains the personal reflections attached to it. As these stories don’t aim at representing a specific historical period, they are not bound either to the present or to the past, and their reflections are not constrained to the ethics or morality of present time. On the other hand they question or mock it. In this sense, if we look at the deep structure, it has the quality to make the audience reconsider their static thinking patterns and make them flexible and vital.","PeriodicalId":247301,"journal":{"name":"Two Masterpieces of Kūṭiyāṭṭam","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130910635","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Mantrāṅkam","authors":"Elena Mucciarelli","doi":"10.1093/oso/9780199483594.003.0008","DOIUrl":"https://doi.org/10.1093/oso/9780199483594.003.0008","url":null,"abstract":"The author focuses on a tiny segment of the long performance of Mantrāṅkam, trying to use it as a magnifying glass to read the wide open structure of this work. The aim is to see how in the initial moment of the act, the fixed structure is not respected, and also to account for the apparently unmotivated shift between ritual and theatrical parts. If we are facing a fluid text that has always refused to be concluded, do we need to draw a division between what is theatrical and what is ritual? Are these two terms really of use when we deal with ‘non-discrete’ textual traditions? The author argues that to account for fluidity, we must look at the history of this corpus, which clearly retains traces of an earlier stage in the development of this art form.","PeriodicalId":247301,"journal":{"name":"Two Masterpieces of Kūṭiyāṭṭam","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124423415","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Mantrāṅkam, an Ancient Integration Project?","authors":"Heike Oberlin","doi":"10.1093/oso/9780199483594.003.0003","DOIUrl":"https://doi.org/10.1093/oso/9780199483594.003.0003","url":null,"abstract":"This article summarizes and presents the ‘golden thread’ of a full performance of Mantrāṅkam lasting 41 days in the Kūṭiyāṭṭam tradition. A day-by-day description with a thorough analysis of the structure, short samples of the text and several photos give a clear idea of the body and composition of Mantrāṅkam. Further, the article recapitulates the study of Mantrāṅkam carried out by the author in 1995-97 and her restudy in 2013-16. Finally, an appendix provides a short summary of the plot of the āntarārttham, “the hidden meaning”, according to the Kūṭiyāṭṭam-tradition. Oberlin describes Mantrāṅkam as a kind of monumental encyclopedia of Kerala culture, civilization, and language. It is the longest play in Kūṭiyāṭṭam; the texts within the texts are constantly moving and growing; it is inclusive and expansive, containing ritual as well as social parts.","PeriodicalId":247301,"journal":{"name":"Two Masterpieces of Kūṭiyāṭṭam","volume":"100 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128593492","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"An Actor in Red and White","authors":"Sivan Goren Arzony","doi":"10.1093/oso/9780199483594.003.0017","DOIUrl":"https://doi.org/10.1093/oso/9780199483594.003.0017","url":null,"abstract":"The author focuses on the major Maṇipravāḷam campus and prabandhams composed mostly in the sixteenth and seventeenth centuries in Kerala. These very often include detailed parodic descriptions of social reality and thus allow us a glimpse of Kerala society seen from within at this moment of critical cultural formation. Since Mantrāṅkam has remarkably similar segments in which large parts of the proto-urban and village societies are described in mostly parodic terms, we need to read the play in relation to the primary literary texts of this period. This is a pioneering essay with powerful implications for our understanding of the cultural milieu in which Mantrāṅkam was created.","PeriodicalId":247301,"journal":{"name":"Two Masterpieces of Kūṭiyāṭṭam","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133660970","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Aṅgulīyāṅkam and Mantrāṅkam","authors":"S. Gopalakrishnan","doi":"10.1093/oso/9780199483594.003.0001","DOIUrl":"https://doi.org/10.1093/oso/9780199483594.003.0001","url":null,"abstract":"It can be said that Aṅgulīyāṅkam and Mantrāṅkam represent the essential features that distinguish Kūṭiyāṭṭam from the other traditions of performance and challenge the norms of abhinaya prescribed in Nāṭyaśāstra and allied texts. Though these plays are vastly dissimilar in theme, scope, and content, the possible correspondences of these two plays as interpretations-in-performance place them in a complementary relationship to one another. Why and how these two plays established a different path is what the author explores during the course of her article. The sixth act of Śaktibhadras Āścaryacūḍāmaṇi, on which Aṅgulīyāṅkam is based, depicts Hanumān’s encounter with Sītā while she is in Rāvaṇa’s captivity at the Aśoka Garden in Laṅkā. Mantrāṅkam refers to the third act of Bhāsa’s Pratijnāyaugandharāyaṇa. The plot of this act revolves around the strategies devised by the three ministers of the captive King Udayana for releasing their master from imprisonment by King Mahasēna.","PeriodicalId":247301,"journal":{"name":"Two Masterpieces of Kūṭiyāṭṭam","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132594455","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"My Experience of Performing Aṅgulīyāṅkam and Mantrāṅkam","authors":"Margi Madhu Chakyar","doi":"10.1093/oso/9780199483594.003.0015","DOIUrl":"https://doi.org/10.1093/oso/9780199483594.003.0015","url":null,"abstract":"This chapter gives an important testimony of an experienced actor’s viewpoint and his issues with regard to the performance of Aṅgulīyāṅkam and Mantrāṅkam. In this way, he outlines some peculiarities of this performance such as the unique relation with prabandham that can be seen only in Mantrāṅkam or some techniques of todays Kūṭiyāṭṭam that were not evolved yet (nirvahaṇam, kramadīpika). The special feature of these two acts is the enormous demand they make on the actor to perform both in depth and through a vast range at the same time. Here the aesthetic totality is more important when compared to the newer form of other acts, in which the details of enactment are more clearly visible.","PeriodicalId":247301,"journal":{"name":"Two Masterpieces of Kūṭiyāṭṭam","volume":"468 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116184513","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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