Search results
Results from the WOW.Com Content Network
Kathakali is different from a similar-sounding Kathak, though both are Indian classical dance traditions of "story play" wherein the stories have been traditionally derived from the Hindu epics and the Puranas. Kathak is an ancient performance art that emerged in North India, with roots in traveling bards retelling mythical and spiritual ...
In Kathakali, there are seven basic makeup types that signify different character tropes. For example, divine figures and epic heroes have green makeup with a white outline, and elaborate ornaments. The demons have Kati vesham in which the nose is painted red. But in solo dance performances aharya abhinaya is a convention to it. [4]
Unnayi Warrier was a poet, writer, scholar, and dramatist who lived in Thiruvananthapuram, India during the 17th/18th century. He is best known for his chef-d'oeuvre Nalacharitham aattakatha and is known to have made significant contributions to the art of Kathakali, the classical dance-drama form of Kerala.
Kalamandalam Venmani Haridas (15 September 1946 – 17 September 2005) was an Indian Kathakali musician noted for his rendition of the Kathakali padams (playback songs) for the characters in the classical Kerala dance-drama.Born in Venmani Mana, a Namboodiri mansion of literary repute in Vellarappilly village east of Aluva off Kochi, Haridas developed interest in Kathakali by watching ...
The songs used in Kathakali performances are typically in Manipravalam, a blend of Malayalam and Sanskrit. While most songs adhere to ragas from Carnatic music, they are rendered in a distinctive style known as the Sopanam style, which is rooted in Kerala's temple singing tradition.
Mathoor Govindan Kutty (5 October 1940 – 4 February 2021) was an Indian Kathakali artist from the state of Kerala. [1] In a career spanning over six decades, he specialized in Kathakali Stri Vesham, the portrayal of female characters on stage.
Padmanabhan Nair has co-authored a book on his father-guru Pattikkamthodi. But his more weighty works are Kathakali Vesham (1980) and Cholliyattam (2000), both two-volume tomes that deal with the grammar and aesthetics of classical storyplays in the highly evolved Kalluvazhi school of Kathakali of north-central Kerala.
Pattikkamthodi Ravunni Menon (1880–1948) was a pivotal figure in the history of Kathakali, having played a crucial role in remoulding and refining its grammar in the famed Kalluvazhi tradition of the classical dance-drama from Kerala in south India. [1]