{"title":"Knowing and Being","authors":"Manu V. Devadevan","doi":"10.1093/oso/9780199483594.003.0016","DOIUrl":"https://doi.org/10.1093/oso/9780199483594.003.0016","url":null,"abstract":"This essay, a highly original study of Kūṭiyāṭṭam as an historical phenomenon and developing art form, offers an ontology of performance in relation to a highly specific epistemology embedded in the Kūṭiyāṭṭam tradition. The author distinguishes Kūṭiyāṭṭam in general and Mantrāṅkam in particular from other performative traditions in South India on the basis of the distinctive truth-value that emerges on stage (in relation to other philosophical streams such as the Advaita). He also reviews the historical evidence on dating and proposes a new hypothesis about the historical moment when Kūṭiyāṭṭam as we know it took shape. He talks about the two manuals that were known from the early period, the Dhananjayadhvani and the Saṃvaraṇadhvani and outlines their impact on the performance of Sanskrit drama in Kerala.","PeriodicalId":247301,"journal":{"name":"Two Masterpieces of Kūṭiyāṭṭam","volume":"31 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":"125191875","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":"Tying the Universe","authors":"Elena Mucciarelli, Heike Oberlin","doi":"10.1093/oso/9780199483594.003.0010","DOIUrl":"https://doi.org/10.1093/oso/9780199483594.003.0010","url":null,"abstract":"This contribution aims at giving an account for the complexity of Kūṭiyāṭṭam, which brings together elements coming from different traditions. In particular, there are possible parallels between these structures of Kūṭiyāṭṭam and Vedic rites: Kūṭiyāṭṭam has developed over centuries in Kerala’s orthodox temples and thus is strongly influenced by its Brahmanic patrons who, apart from that, still attend and preserve Vedic traditions. Similarly, Kūṭiyāṭṭam is strongly permeated by a ritual attitude: in the past it was considered the kuladharma (‘family duty’) of specific groups (Cākyārs, Naṅṅyārs, Nampyārs) and had its fixed time and place in the temple. Thus, this contribution examines possible bidirectional influences between these two traditions as they can be seen especially in Mantrāṅkam. Furthermore, it exemplifies the methodological issue of overlapping boundaries linking ‘ritual’ and ‘theatre’.","PeriodicalId":247301,"journal":{"name":"Two Masterpieces of Kūṭiyāṭṭam","volume":"948 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":"114153852","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 Mantrāṅkam Paribhāṣa from a Historical Linguistics Perspective","authors":"Ophira Gamliel","doi":"10.1093/oso/9780199483594.003.0009","DOIUrl":"https://doi.org/10.1093/oso/9780199483594.003.0009","url":null,"abstract":"The transliterated text is based on the print version of the paribhāṣa published by P. K. Narayanan Nambiar 1980. The paribhāṣa is designated by the performers as kṛtrima-prākṛta-malayāḷam, an artificial ‘Prakrit-Malayalam’. While it is clearly stylized so as to serve representational concerns, which impact on the interpretations, it involves also dialectical and archaic linguistic features, which impact on the interpretation of the text both diachronically and synchronically. Some features are archaic, some are regional or caste-oriented and some are idiosyncratic. The author takes us through the various features in the paribhāṣa and summarizes by informing us that the dialectical features are possibly used in an attempt to render the character of the jester friendly to Malayalam speakers in the audience, regardless of their command of Sanskrit or of the hand-gesture language. The idiosyncratic features are probably aimed at ridiculing the Sanskrit enthusiast Brahmins in the audience.","PeriodicalId":247301,"journal":{"name":"Two Masterpieces of Kūṭiyāṭṭam","volume":"3 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":"131044209","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":"Distinct Conventions in the Staging of Aṅgulīyāṅkam Kūttu","authors":"Ammannur Kuttan Chakyar, Aparna Nangiar","doi":"10.1093/oso/9780199483594.003.0014","DOIUrl":"https://doi.org/10.1093/oso/9780199483594.003.0014","url":null,"abstract":"By getting trained to perform Aṅgulīyāṅkam, the actor becomes an expert in the acting techniques of Kūṭiyāṭṭam, that is, Aṅgulīyāṅkam includes only two characters: Hanumān and Sītā. Hanumān is the only character that performs the whole play and the text of Sītā will be recited by the Naṅṅyār who plays the cymbals. One of the major technical specialities of this play is that it includes the flashback-technique several times in different contexts and thus the whole story of the Rāmāyaṇa will be enacted on the stage. The authors are experienced performers themselves coming from a traditional Kūṭiyāṭṭam performing family. In their essay they analyse the structure of the play from the perspective of the actors, considering both the ritualistic and the aesthetical issues of the performance.","PeriodicalId":247301,"journal":{"name":"Two Masterpieces of Kūṭiyāṭṭam","volume":"23 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":"121483339","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":"What Is Mantrāṅkam?","authors":"D. Shulman","doi":"10.1093/oso/9780199483594.003.0004","DOIUrl":"https://doi.org/10.1093/oso/9780199483594.003.0004","url":null,"abstract":"This essay attempts to provide a general thematic and analytical framework that can make sense of the immense, diverse materials that have been brought together in this 41-day performance. The argument focuses on the paradoxical nature of the central clown-like figure, Vasantaka, and the peculiar truth-value that he articulates: that of a prachanna-bārhaspatyam or ‘hidden cynicism’, a pragmatic attitude based on utilitarian deception that may, however, be deceptive itself. The editor concluded by saying that a dissonant and incongruous cognitive pragmatics outlined in the chapter can function as a mechanism of wholeness, or as a powerful solvent that in itself continually forges close links and connections, is possibly the most surprising discovery one makes in the course of watching and thinking this play.","PeriodicalId":247301,"journal":{"name":"Two Masterpieces of Kūṭiyāṭṭam","volume":"56 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":"130440572","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","authors":"P. Bhadra, Rajneesh B.","doi":"10.1093/oso/9780199483594.003.0012","DOIUrl":"https://doi.org/10.1093/oso/9780199483594.003.0012","url":null,"abstract":"This chapter is an important contribution because Bhadra and Rajneesh are writing from the viewpoint of performers coming from a traditional background, also capable of presenting Kūṭiyāṭṭam in the ritualistic setup of annual temple performances. They give an explanation of the peculiarities of Aṅgulīyāṅkam in comparison with other plays in Kūṭiyāṭṭam and explain the structure of Aṅgulīyāṅkam according to a typical traditional performance lasting for 12 days. They explain the structure of the Namaskāra segment of Aṅgulīyāṅkam and identify it as the basis of all techniques for non-verbal acting in Kūṭiyāṭṭam. Each and every portion of this act can be elaborated as much as possible by an eminent actor. Thus, this act is recognized as the Veda for acting.","PeriodicalId":247301,"journal":{"name":"Two Masterpieces of Kūṭiyāṭṭam","volume":"40 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":"127788021","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":"Pracchana Bārhaspatyam","authors":"Orly Hadani Nave","doi":"10.1093/oso/9780199483594.003.0005","DOIUrl":"https://doi.org/10.1093/oso/9780199483594.003.0005","url":null,"abstract":"This article offers a rich analytical discussion of one of the most amusing of the embedded narratives in Mantrāṅkam—the tale of Iṭṭuṇṇūli and the parrot that eventually outwits her. This story has ancient roots in the Kathā literature but has acquired a peculiarly Keralan character in the process of being integrated into Mantrāṅkam, where it functions as a condensed emblematic statement of the major themes of the play as a whole. Nave has tried to decipher some of the major themes crucial to the project as a whole as they appear in one embedded tale. The play of Mantrāṅkam is considered to be one of the jewels of Kūṭiyāṭṭam. It places an immense strain on the performer and on his memory. It entails a great potential for tension along with enormous effort of the performer.","PeriodicalId":247301,"journal":{"name":"Two Masterpieces of Kūṭiyāṭṭam","volume":"235 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":"123041181","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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