{"title":"Aṅgulīyāṅkam, Rāmāyaṇa-Vēda of the Cākyārs","authors":"Virginie Johan","doi":"10.1093/oso/9780199483594.003.0011","DOIUrl":null,"url":null,"abstract":"\n 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":0.0000,"publicationDate":"2019-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Two Masterpieces of Kūṭiyāṭṭam","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1093/oso/9780199483594.003.0011","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
Aṅgulīyāṅkam, the Act of the Ring,是根据喀拉拉邦Kūṭiyāṭṭam传统,Śaktibhadra的Āścaryacūḍāmaṇi的第六幕表演。Cākyār大师认为它是哑剧的“吠陀”,也是传统的Rāmāyaṇa曲目。根据他们的马拉雅拉姆表演手册(āṭṭaprakāram),他们在喀拉拉邦的五个寺庙里表演12天kūttu,单动作。在此基础上,通过对《kūttu》剧作的分析,揭示了《Kūṭiyāṭṭam》剧作如何将几乎全部的《Rāmāyaṇa》剧作浓缩成一个复杂、独特、统一的结构,并分析了其史诗般的戏剧效果。约翰强调戏剧是如何建立在捕捉时间的基础上的,无论是在戏剧小说的多个层面上,还是在表演的层面上。
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.