《库提亚塔姆》中对罗摩衍那的反思

D. Shulman, Margi Madhu Chakyar, G. Indu, R. Bharucha
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引用次数: 0

摘要

在印度喀拉拉邦Moozhikkulam村的库提亚塔姆表演培训中心Nepathya,这个由两部分组成的采访主要集中在与梵语学者和库提亚塔姆表演专家David Shulman的对话,然后是与当今印度两位主要的库提亚塔姆演员Madhu Margi Chakyar和Indu G.博士的互动。与Shulman的交流主要集中在通过Shaktibhadra的戏剧Āścaryacūḍāmaṇi与库提亚塔姆的哲学和文学共鸣上。与Madhu Margi Chakyar和Indu的对话。G.详细阐述了实际的训练过程和执行Kutiyattam的严谨性。这个由两部分组成的访谈避免了学术和实践的二元对立,展示了围绕库蒂亚塔姆的知识如何不能与舒尔曼所强调的“极端个性化”和库蒂亚塔姆表演中“时间性”的复杂性分开。相反,Madhu Margi Chakyar和Indu g反思了他们如何将自己定位为表演者,与文本和āṭṭaprakārams(表演手册)的解释有关,这本身就是一种知识形式。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Reflections on Ramayana in Kutiyattam
Set in Nepathya, a Kutiyattam performance training center in the village of Moozhikkulam, Kerala, this two-part interview focuses on conversations with Sanskrit scholar and Kutiyattam expert David Shulman, followed by another interaction with two of the leading Kutiyattam performers in India today, Madhu Margi Chakyar and Dr. Indu G. While the exchange with Shulman focuses primarily on the philosophical and literary resonances of Kutiyattam via Shaktibhadra’s play Āścaryacūḍāmaṇi, the conversation with Madhu Margi Chakyar and Indu. G. elaborates on the actual training process and rigor that go into performing Kutiyattam. Avoiding the binary of scholarship and practice, this two-part interview demonstrates how the knowledge surrounding Kutiyattam cannot be separated from what Shulman highlights as “extreme individualization” and the complexities of “temporality” in performing Kutiyattam. Conversely, Madhu Margi Chakyar and Indu G. reflect on how they position themselves as performers in relation to matters concerning textuality and the interpretation of āṭṭaprakārams (acting manuals), which constitute a form of knowledge in its own right.
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