APPENDIX I

INTERVIEWS

THEYYAM

AI-1.0 Interview with A.K. Nambiar, School of Drama, Thrissur

29-11-1993.

AI-1.1 Please explain the social relevance of the myths

behind the different Theyyams. Are they in the form

of different protests by the down-trodden?

Different Theyyams represent different staycs of worship

by man. There had been animal worship, snake worship, hero

worship, goddess in ancient times. The changes that occurred

in the forms of worship, helped in the evolution of this ritual performing art. Many Theyyams like 'Pottan', 'Makkappothi',

'Muchilott Bhagavathy' etc. are in the form of protests. Some

of them like 'Raktachamundi', 'Pallott Devi' etc. have relation

with 'Kali' worship with local variations.

AI-1.2 How is the training in Theyyam received by the

performer? Is it formal or traditional?

Generally, there is no formal training in Theyyam, as

that in other ritual performing arts. The Theyyam-artiste

learns it through observation and imitation while accompanying . the elders during the performances. But in some Theyyams,

special steps like that in 'Kalari ' are learned formally.

Before the performance, strict 'Vritha' from 3 to 41 days

should be observed by the performer. The period of 'Vritha'

depends upon the nature of Theyyams. The Theyyam-artistes

usually belong to certain sections of the low castes dike

'Pulaya', 'Malaya' 'Vannan', 'Paraya', 'Urali' etc.

AI-1-3 How is the belief of the performer in hem', what is

the difference with the actor in a Theatre?

Usually in Theyyams, only believers are the performers.

Even if he is a non-believer, when he actually performs

Theyyarn, he will have that aspect of belief in him. Theyyarn is

a ritual art, and if the element of belief is not there, it

will degrade in to a farce.

In theatre, the belief of the actor is self-confidence

(Stanislavski). Here it is make-belief, making the audience

believe that he is the character.

The self-confidence in Theyyam-artisteis acquired through his

belief in God or religion. It is social as well as

psychological. He has to suspend hisown self atleast for the

time of performance and wear a robe of belief.

During performance, they go into trance, some are

pretending that they are in trance. It is a trance related with

religious belief*- (-not as in the actor in a theatre).

Even a performer who enacts a secular Theyyam will have

the element of belief. There is no Theyyam, which are not

connected with religions or beliefs.

AI-1.4 Can we connect some Thevvams to the Theatre or cruelty

of Artaud?

The intensity and the fierceness of performance along

with the high spectacular aspects of Theyyam can be connected

with Theatre of cruelty. In 'Pottan- Theyyam', 'Ottakkolan

Theyyam', 'Ummattikkuliyan Theyyam', there are the elements of

'Manthravada'. There is the fierce performance of 'Uchabali;

inf lictuon of self -suf f ering .by cutting the hands and pouring

blood, which is very well akin to theatre of cruelty , It must be remembered here that Artaud derived his ideas of the

Theatre of cruelty from the Balinese theatre.

A1-1.5 How much time is needed for preparation before

presentation?

Usually about four hours are needed for the preparation

and eight to twelve hours for the performance. (With 'the

costumes already ready). Theyyam have connection with the

timings (Eg. Karimkuttichathan is performed in the early hours

of the morning, Vishnwnoorthi during day time, Theechamundi is

during night). In this respect, theatre does not observe this.

AI-1.6 What about the audience? Their belief? Their

participation? etc. Do they communicate with the

performers?

The audience in Theyyam are usually believers. But there

are people who regard Theyyam completly as a visual art .- But traditionally the audience are believers and they come for

participation. When Theyyam was performed, fomerly the audience

had their own separate positions. But now that division has

gone.

The audience are always communicating with the

performers from the beginning to the endwvocal communication is

also there between the performer and the audience.

A1-1-7 What is your opinion about taking Theyyam out side the

traditional performing spaces like 'Kavu' or 'temple'

etc? In this case is it moving towards theatre?

When a ritual is taken outside its traditional

performing spaces, it will have its own limitations as a ritual

performance.

There are justifications for taking Theyyams outside.

One is, to draw the attention of the outside world to such a

rich performing art. We have taken this is to Russia, Germany

and France. But what we did there was to create an artificial

ritual atmosphere there for a complete communication of

Theyyam. In the festival of India, Theyyam was presented over

the side of Sen river. I made use of the nature's

background, the steps towards the river, for the presentation

which was much appreciated.

When we take the art outside, the art as well as the

artists are known outside. ,. We highlighted the spectacular

aspects there .- We brought out the limitations of the

proscenium there.

It is true that in highlighting the spectacular aspects

of Theyyam, the believing aspect as well as the ritual aspect

are lessened. And it moves more towards . theatre than . ritual. But that is the need of the day.

AI-1-8 What about the costumes and deep colours used in

Theyvam? How is it related with Theatre?

The deep colours used in Theyyams express the eternal

f bhavas' of the goddesses. Deepred colour is used in Thnyy_am

which is connected with blood. The design of the costume, as a

whole, expresses the fierceness haudrabhav;) of the art.

Colours would be mixed, usually 'Chayilyam' is used. In

'Muchilott Bhagavathi', a minute design is given on the face.

The peculiarities of the goddesses are expressed through these

portrayals. There would be different Theyyam belonging to the

same category, There will have different portrayal.

The 'Mudi' of Theyyams vary from one feet to 30 feet

This is to establish 'bhavas' that are unworldly . . The ivludi' of 'Muchilott-Bhagavati and Vishnumoorthy is very small.

AI-1-9 Music - The musical instruments like 'Chenda', 'Elathalam',

'Cheenikkuzhal', 'Kurumkuzhal', 'Cheriya maddalam' are used,

These instruments have connection with tribal culture. But we

cannot say that Theyyam is a refinement of tribal arts. In both

we can see goddesses of agriculture. There are Tribal Theyvams.

AI-1-10 Theatrical elements in T h e g y a w .

Some of the Theyyams are rich in Theatrical elements,

like 'Muchilott- Bhaqhavati', 'Makkapothy' 'Daivathar' . . The

actions are so mo delled so as to communicate the rituals more

powerfully.

There are comic characters as in 'Mudiyettu' or

'Padayani. , Kuttitheyyams and 'Bhootha theyyam' as '~oolies 'in < 4

Mudiyettu . The dialogues of Boothas are full of comic

elements. They are full of fun as well as thought. But we

cannot take this as a general rule in Theyyams.

AI-1.11 Ritual props used.

'~eedom'is an essential object in The~~ams, some of the important

scenes in Theyyams are performed sitting on the 'peedom: In r Karimkuttichathan, a dance performance is given standing on the

peedom'. This is called 'Peedakalasam'. Some rituals are

conducted towards 'Peedom' . This will b e done at the begi$,ing

'as well as at the and of the performance.

The Theyyam may listen to the complaints of the people

sitting on the'peedom'or standing.

The use of 'Yavanika' is very rare in Theyyams. In

certain T,heyyam~, just before the performance, '~avaniki may be

held. There it has got a theatrical function.

(As in 'Padayani., the darkness is also acting as

'~avanika' here. Just before the coming of Theyyam 'Vadyamelal

will be there.)

Usually songs are sung by the 'Thottakaran'. In certain

Thevvams, Theyyam also sings.

AI-1.12 How are the movements of Theyyam? Are the steps varied?

Are they taking liberty during performance?

Each Theyyam - has itsown movement pattern. These

patterns have their own variations -. These fixed patterns are

not at all broken by the performers usually. They may vary the

rhythm but not the basic patterns. The variations are directed

by thervaddyakar: or the Theyyam itself direct the rhythm. Here

he takes liberty.

The performer, moves in a fixed score generally. There

is limited possibility for improvisations. No new steps are

introduced, they are confined within the traditional steps

(Here there is no rehearsal, as in the theatre . In theatre

there is no fixed - scores ) . The performer is supposed not to break the score or rituals in Thevyam.

But the movements of a particular Theyyam have local

variations - Eg. There are variations of castes like in 'pottan ~ h e ~ ~ a m ' by '~ulayas' or by '~alayas.. But in a particular 'Kavu'

this variation cannot be affected. This anthropological

variations in the performance can be seen in all folklores.

That is also seen in Theyyams.

But with the change of time, the duration of t hott tams

have been reduced. The performance-time is reduced (some times

from four days to two days). Here, we can say that Theyyam is

nearing towards Theatre.

.3I-1.13 How are the light employed in They-yam..?

Usually 'Olachuttu' (bundle of dr%ed coconut-leaves)

are used functionally in Theyyam. t andh ham' is there in the

'~olams; of Theyyam (from four to 16 'pandams) For '~andakarnan'

there are 16 t andh ham$.* In the burning light of the 'Choottu',

the natural colours on the. ~olams' will have varied dimensions.

There is a fragrance for the 'Choottu'.

AI-1.14 What all lessons to theatre, can we draw from Theyyams?

i) In the creation of the atmosphere.

ii) In the difference aspects of acting.

iii) In giving colour combinations to different characters.

iv) Participation of the audience.

v) Actor-Audience relationship.

vi) Space utilization.

AI-1.15 How is 'Mudevi Theyyam' influenced by the ritual art

Theyyam?

The music as well as costume in Mudevi - Theyyam were done by me. For deification I had in mind two or three Theyyams.

C

One is Mudhillott bhagavathi. The myth of 'Muchillott-

~haoavathi' has inevitable connection with Mudevi Theyyam. In

the last scene for the killing of the people 'Purakzla Theyyam'

is taken a-.'~ulikan' has got a big'~udi'. .- The killing was done

by certain '~aliisams' in ThevyamseI think it was very relevant,

correlated with the theme of the play.

In the employment of music I made certain changes to

suit the theatre. The 'tune' was from 'the Thottams' of

Theyvams with out losing its spiritual quality. For 'the

manthravada' the tone was improvised.

r I For the performance of Sarpapooja, an improvised

\ ~andal' was created on the stage and some improvised movements

almost like in 'Kalampattu'. I think the audience received it

well. (I could have brought 'Pulluvan Pattu'. But I

deliberately avoided it.) A 'Kalam' was improvised with a

possessed dance.

In the presentation, there was an on the whole

influence of Theyyam, but the actual Theyyam was introduced

only for a few seconds. (Here was the directorial brilliance).

The traditional elements are used not to highlight. the

spectacular aspects in them, but to draw the spirit from them.

Even to an audience who were not familiar with Theyyam,

(as in Delhi) this could provide a theatrical function. The

audience in Delhi appreciated it very much. The technique of

the ballad-way of presentation was much appreciated by the

audience. Had it been presented in Kannur, I think the audience

would have appreciated it more* In the open air it gets more

scope and dimension.

AI-1-16 The ritual influence on modern Malayalam Theatre.

We have to take only the culture of these ritual arts,

not the outer structure above. They should not be projected on

the stage as they are; often the assimilatien is done only

externally. But the real thing should be the absorption of

their spirit in relation to Theatre. Ic this is done, our

theatre would be more powerful.

A1-2-0 Interview with Pazhoor Damodhara Marar

AI-2-1 &at is the myth behind 'Mudiyettu' 2

(He explained in detail the myth.)

AI-2-2 At what age did you learn 'Mudiyettu'. What were the

training methods? Was there any teacher to teach you

the ritual art?

Even from the very early child-hood I had been

connected with Mudiyettu. as my father and grand -father were

e very great artist&s in Mudiyettu . The process of learning it was very gradual and spontaneous. There had been no formal

training. My teacher was my father. At first I used to sing

with my father, and helped him in arranging the constumes etc.

But I used to take some physical exercises at that time. There

had been no formal or systematic training methods.

AI-2-3 Has there any heriditarv claim for the performers in

Muddiyyettu? Should they belong to a particular caste?

While the Theyyam-performers belong to the low caste of the

society, 'Uudivettu- performers belong to Kurup and Marar community.

This may be because of so may social reasons. This ritual art had

been performed in the temple premises. But recently the concept

of this high caste of the performers has altered. Now those who

are able and interested also become Mudivettu,- artistes It is

said that in olden times, while the uncle did the role of'~ali:

the nephew did that of Darika. But today this is not observed.

AI-2-4 Whatall 'Vritha' the performer has to

In undergo before the performance? While,performance do you have

the feeling that you should succeed as an actor? What about the

transformation while performance?

There should be forty-one days2 'Vrithanustata' before the

performance. The performer should keep physical purity, purity

of food and celibacy. While in performance, I never went in to

a complete trance. There always exist the feeling of the

performer in me. But there were incidents when the performers

went>?o complete trance, and even Kali killed Darika during the

time. ~ike'the Velichappadu' 'Mudiyettu performer may go in to

a complete trance. The transformation in the performer is

related to the rhythm of music c For the transportation of the

performer there is no particular external ritual9 provided.

Others may hold them and make them point the weapon ' towards

the ground. The weapon is forcibly snatched from their hands.

Then the cooling often occurs in them.

A1 2-5 Wow much time is taken for the preparation of the

performance? What all rituals conducted durinq that

time?

'Mudi' is already prepared one, which would be decorated

with 'Thechi flowers. It would take three and a half to five

hours for the preparation of the performance. _Mudiyettu

performance would be announced after the 'Ucha-pooja' of the

day by 'Vadyas'. All other other preparation should be done by

the conductors of .Mudiyettu .

AI-2-6 What is the'thaur~athrika'element in 'Mudiyettu'?

The dance-torms of 'Athlkarantham' ana '~arin.?iplutham' are

there in the movements of Kali and Darika. This is described

by Bharatha in Natyasastra. Similarly in the war scenes of /

(

~Zriki and 1 , the acting -form of 'Pakirithirichil' is

there. There are '~atasams' 'Thonkaram' and 'Exatti' in the

movements of the characters. Also, in Mudiyettu there are

acting-forms of 'Irunnattom', 'Pathinjattom' and '~lakizttom'

especially during the war scene of Kali and Darika. An actor in

:Mudiyettu should be well-versed in 'Thauryathrika'.

AI-2-7. Do the audience in 'Mudiyettu' come with

'Vrithanutana'? Are they coming to see the Gods with

devotion? or are they coming to enjoy only an artistic

piece?

Usually the audience in 'Mudiyett~~re devotees. But there

are some who come to enjoy only the spectacle in it. The

devotees in ritual arts are supposed to come with

'Vrithanustana'. That is why they continuously witness for four

or five days the enactment of pludiyettu,.

AI-2-8. Are there any occasions in 'Mudiyettu' when :the performer'

communicates with the audience? What is the purpose of

the introduction of 'Koimpidanayar' in the 3rd scene of

Mudiyettu? Is it for conveying dramatic enjoyment to

the audience?

Just after the enactment of 'DFirika Vadha' KZli performs

'Uzhichil' of the audience with the 'Pandham' (burning torch).

This is to exorcise the illness of the demon-ruleZ DZrika.

During the war scene also K= performs this ritual of

'Uzhichil' to the children in the audience. Then she receives

'Dakshina' from the audience.'VedZlal approaches the audience

asking for money. There is a dramatic function of introducing

the character Koimpadanayarl- to give a comic relief to the

audience. He is also believed to be 'Nandikesa' in disguise.

AI-2-9. How is the ritual costume of the characters in

'Mudiyettu'?

Most of the materials used as costume are directly

available from nature. 'Kuruthola' 'Chayilyam', 'Kari' ,

'Chunnambu' 'Manayola' etc are used. The colours used are very

deep, like that of red, green, white, black etc. All these have

got their own meanings. ~zli's '~udi' is longer than Dsrikan's.

It is made of sheet-metals.

AI-2.10 What are the ritual stage-props used in 'Mudiyettu'?

What are the function of 'Yavanika', 'Peedom' and

'Nilavilakku' in the performance?

Basically 'Mudivettu is a drama. Even the script is

written like a drama. There are seven scenes in the performance

of 'Mudiyettu' Scenes of Siva and Narada (i), Extrance of

Darika ( 21, Entrance of ~ a l i ( 3 ), Koimpidanayar ( 4 1, ~grika and

~anavendra ( 5 ) , ~arika-vadha ( 61, 'rnudiyedupp; ( 7). In all

actions of these, 'Peedom' is an essential stage- prop.

'Nilavilakku' in 'Mudiyettu is the concept of Siva. 'Yavanika'

is used many a time in the enaction. The use of these ritual

stage-props enriches the theatrical power of Mudiyettu'. -

AI-2-11 How is the use of music and light in 'Mudiyettu'? What

are the objects used for lightings? What all musical

instruments used?

C J J Pandams (torches), five-wicked torches (Theevetti) are the

important objects used for lighting. During the war - scene the

space of performance expands to all over the temple premises.

ÿ he lighting-men should accompany the characters all over

there. Thus a peculiar way of lighting is provided in the

performance. The musical instruments used are 'Uruttuchenda',

'VGkkan chenda', 'Ilathalam' etc. Sometimes 'Kompu' is also

used like the lighting men, the ~glakkar should also accompany

the characters where ever they go during performance.

AI-2-12. What all elements can we take from 'Mudiyettu' to the

modern theatre?

As far as ,~udiyettu' is concerned, there is no existence

for it, apart from its ritual aspects. The performance of

'Mudiyettu' would be successful only when it is connected with

temple culture. Even it is taken out, the performance-space

should be converted in to a temple premise. Mudiyettj' should

!;ot become a play. But the actor..aswell as the audience concept

in :Mudiyettu' can be a lesson for the modern theatre-worker.

P A D A Y A N I - - - - - - - - - - - - - - - -

AI-3.0 Interview with Kadamuanitta.

Vasudevan Pillai.

AI-3.1 Please explain the myth behind 'Padayani'.

It is a myth related to Dsrikasuravada. After the killing

of '~arika', 'Kali' loses her control and advances forward

destroying all that obstruct. her way. The Devas try to

pacify 'Kali' doing all sorts of things like singing, dancing,

acting comically# Some of them wear masks and dance infront of

7 her. Some others draw 'Kalams' , the figure of Kali'. The

action-sequence of 'Padavani remind all those actions of Devas.

AI-3-2 Like 'Mudiyettu' , is there any &rogative for certain

castes to perform 'Padayani'? Is there any in hereditiry ---- riqht for the performcre in Pndnynni?

In my opinion Padayani might have been a ritual,

performed by all the villagers at certain staye of history.

When the society was divided through caste system, each aspect

of '~adayani might have been done by certain castes. Thus the

categories, the performers, the singers, drawers of Kolams,

those who collect materials for the ritual might have evolved.

There is an element of sacrifice involved in it for each

section of the society. Pdays~i' does not belong to a

particular caste. Even the phenomena of priesthood might have

evolved at a later stage.

AI-3-3 How is the performer prepared? What all 'Vritha' he has

to undergo before performance? How is the element of

belief in the actor? How is the transformation-level of

the performer?

The original concept was that the performer should undergo

strict 'Vritha' for about forty one days before the

performance. At the beginning of the performance he is one

among the villagers. But gradually his self dissolves in to the

state of goddess and he passes on to a trance. Thus almost a

r. complete transformation is occur&ng there. The transportation

happens usually with extermal aids. He may be held, or carried

away. 'cooling' often happens when water is sprinkled on the

face. This transportation happens even without these external

aids, sometimes. The level of transformation is in proportion

to the speed of the rhythm of the musical instruments. He can

continue the performance, if this transformation occurs only to

a certain point.

The performer is doing acutally a sacrificial ritual.

Therefore, he has the feeling that as a ritual it should be more h perfect than as an art-piece.

A1;-3-4. How is the 'Padayani' performer prepared before the

performance? Is there any hereditary right to became a

performer?

> sans (teachers) are teaching the pupil in '~alaries:

Formerly 'Uzhichil' as that in Kathakali-performer's training-

process was given to the performer. As in Mudiyettu' or

'~he~~am'there is no hereditary right for the performer.

A1'-3.5 How much time is needed for preparation? What is the

process of preparation?

The preparation of 'Kolam' is called 'Sadhippu'. The time

requires, depends on the nature of 'Kolams'. Formerly, Padayani

was performed for about 28 days. For the rehearsal of 'paradesi',

at least fourteen days are needed.

A1'-3-6 What are the qualification of a 'Padayani' actor? How

are the movements of 'Padayani' learned by him?

A padayani-actor should be well-versed in Ggetha, Nrithya

and vsdya ('Thauryathrika'). But today a Padayani-performer

is not so. In olden days the scene of "Paradesi' was performed

through 'Thauryathrika'. Here the actor goes from discipline to

liberty and in theatre the actor goes from liberty to

discipline. We know that in all arts there is the attempt to go

beyond the forbidden.

AIC.3-7 Who are the audience in 'Padayani'?

Are they devotees coming with 'Vrithanustana'? Or are

they coming, just to enjoy an art-piece? Do they

consider 'Kollamsl as Gods? What about today's

audience?

There are no audience in Padayan1 . All the villagers are

participants in the sense that even from the very beginning of

the preparation of 'K6lams' to the.last movement of offering

, the 'Kb'lams' to the dieties they participate in the process.

Some times, even during the performance-time, when a performer

exhausts himself, people who know Padayani, go to perform

padayani' in his place. In fact it is a sacrificial ritual of I

the whole villagers.

Today, the audience belongs to different categories. Some

come as devotees, some as mere spectators coming for enjoyment,

some for studying it (as the investigator). But all the people

get; transformed to a certain level. But in theatre there are

only spectator, inspite of the fact that transformation to a

certain degree occurs in him. There is no identification of the

performer and the audience in theatre as in ritual arts.

A1 -3-8 It appears that in the performance of'padayani', there

are so many theatrical elements as in the 'Pakarnattom'

of Kalan-Kolam or in the introduction of 'Pattarum

Pennum', 'Paradesi' etc.?

Please explain.

'Padayani' comes very close to theatre. But I think

'Kalaikk6lam' is a later addition to Padayani . Even the very design of it, is theatrical. The 'K61am1 is designed to give

full freedom to the enactment. As Ayyappapanikkar says, even

the very concept of '~akarndttom' is a lesson for the Modern . .

Theatre.

A1:-3-9. How are the costumes designed in 'Padayani'? What is

the use of colours in Padayani?

What is its relevance?

Very deep colours are used in'IColamsf-like deep-red, black.

green etc. These colours are related to the intense experiences

of the people. The terrible, fierce and bloody appearances of

tne '~diams' lift tne mlnds of the audlence to a metaphysical

plane. (Ref. to Artaud). This essence of spectacle is surely a

lesson to the theatre.

A1'-3-10 What are the ritual staqe props used?'~avanika',

Nilavilakku or peedom?

'Yavanika' is used at times in Padayani. For example

during the performance of 'Arakkayakshi' 'Yavanika' is used for

its entrance. I think the use of '~avanika' is taken in to this,

at a later period. It is a tendency to take padayani near to

Kathakali. The function of entrance of the characters is

already been done in some other way in Padayani . Here, the darkness itself acts as 'Yavanika', characters enter from a

distance with rhythm and music. The use of 'Nilavilakku' is

there, but in the performance time it is not there. The use of

'Peedom' is not seen in Padayani.

AIr-3.11 How is the 'liqht add 'music' provided in'padayani'?

The main source of light for the performance of :P@ayani . -

is 'Chootu' (bundles of dried coconut palms). The gradual

burning up and down of 'choottu' gives different dimensions of

colours and movements to the figures in the 'K61ams1. The

mixing of darknose and light at the time yivcs a lnctnphyaicnl

. atmosphere. The pictures in the 'Kolams' are enlivened by the -

application of light. The use of choottu, reminds us of tribal

dances in the ancient days.

The musical instruments used are 'Thappu' 'Ilathalam',

'para1 and 'Udukku' . These are :~sura vzdYasi, the use of which suits the internal structure of Padayani. The vibrating and

fierce sounds of 'Thappu' reach even distant villages.

AI'.3-12. What all lessons can the modern theatre derive

from the ritual arts like 'Padayani'.

I think the search for an indigenous theatre is still

going on in Malayalam. But it is sure. that, the search would

reach to the roots of our ritual arts. But in an effort to

create a new trend, we must not depend too much on the

periphery.~ of these arts. When we turn to ,Theza% , ,Padayani

or .Mudiyettu. for getting inspiration to the Elodern Theatre

(for rhythm, movement or costune), we have to take only the

culture of it.

AI-4.0. Interview with P.K.Venukuttan Nair. 19-11-1993

AI-4-1 Who is the pioneer of the 'Thanathu' concept in

Malayalam Theatre? ~an'~ali' be considered as a first

venture towards it?

In the first drama-workshop (Kalari) held in Sasthamcottah

in 1967, it was M.Govindan who aired the concept for the first

time. It was C.N.Sreekantan Nair who was inspired most by the

idea. The idea effected an absolute change in the theatre-

cf concept of C.N. I think that Kali was born outathis press of

excitement in C.N. Eventhough we cannot say that i , is

directly influenced by ritual arts, it is the first play based

on this 'Thanathu' concept in the history of Plalayalam Theatre.

AI-4-2 It is considered that your presentation of 'Kali'

was the most successful one. Were there any ritual

influences, direct or indirect, in the presentation

of Kali, when you directed the play.

Even in the script of there is the essence of all

ritual arts. There is also classic background for.it. But there

is not direct influence of any ritual art. But the growing of

the idol of a i and the creation of the 'Parikarmi:.,

'Velichappadu' are entirely ritualistic. When I presented the

the play, I prepared a crude ritual atmosphere even from the

very beginning. To retain this tribal atmosphere the rehearsal

was done in a forest area. This was to create a raw-ness in the

actors. However, there was not a complete awareness of a ritua-

listic theatre at that time. But the actors were well-informed

about the ritual arts like Theyyam, - Mudivettu and Padayani'.

The movements improvised by them were ritualistic in essence.

In fact, like a tribal ritual-enactment, they were enjoying the

rehearsal. This provided a spontaneous ritual character to the

whole ritual sequences.

A I - 4 - 3 Please interpret the myth in'~a1i'. Is the growing of the

idol and the destruction of all those who are

responsible for it, a recreated or invented myth?

Even the very structure of the play is born out of a

mythical concept. The actions of the play are centred around

the growing of an idol and the sacrifices needed for it. I

think the myth is a spontaneous evolution from the imagination

of the playwright, when he thought of evaluating the problems

of modern life. This very concept gives it the scope for a

ritualistic presentation.

AI-4-4 How were the transformation and transportation of the

actors in'~ali? What about them in the character

'~elichappadu?

I consider the transformation of an actor in theatre only

as a self - adjustment. The actor becomes a character only

deliberately. Always there is the duality of the actor as

well as the character working in him. Even when I gave a

primitive, tribal atmosphere to prepare the actors in U i ,

this duality was working in them. The faith and belief in a

ritual performer is different from the faith and belief of the

actor in a theatre. When I did Kali I tried to take the actors -,

to the plane of a tribal ritua1,which was irrelicjious.Eventhe

preparation of 'Velichappadu' was like that. I think the

transformation degree in the actor who took the role of

'Velichappadu' was very high. He even broke the limitations of

space and time. But1 neverallowed him to fall in to a full

trance, lest he should fail as an actor.

AI-4-5 What is your opinion about Ayyappapanikkar's comment

that Kali is a theatre of cruely as in Artaud?

Artaud's concept of 'cruelty' is to take man to the

extreme of 'cruelty' that he is capable of. It is to bring to

the stage a raw cruelty and then to abhor il;. In that sense

Kali is a theatre of cruelty. Here human beings are sacrified - with the ease of cutting bread. Then an abhorance is created in

the audience there by getting a self realisation. It is a sort

of Catharsis. In the scenes of sacrifice, this catharsis was

experienced by the audience.

.A]--4-6. Is the 'holy' actor-concept in Grotowski realized in

'Kali? (As 'Kali' centres round the theme of sacrifice).

The holy actor-concept had been there in all our ritual

arts-tradition. In primitive rituals,the performer enacted his

role believing in an irreligious force in nature. I wanted to

make the actorsin m i like that. I made their dialogues,

movements, music etc. very raw. In this level, the actor in

Kali comes close tothe actor in Grotowskian meatre.

AI-4-, 7. What is the audience-concept inr~ali> It appears that

C.N. wanted to involve them in the action sequences of

the play? In the script itself often the audience

enter the stage and participate in the action.

What is your comment?

In , I tried to recreate rituals through

improvisations. I did not approach m i , merely as .a stage

material. I never wanted to make it a refined and finished

product too. I was very particular that it should remain in

primitive plane. In this level 'u is connected with the

ritual performance of :Padayanil or ,Theyyam'. We should never

present a play with ritual influence in an intellectual way. If

so, the involvement of the actor as well as the audience would

become less. And, the play would remain only as a show-piece.

AI-4-8 What are the symbols in'~a1i: How are they connected I

with rituals?

All the symbols are created through improvised rituals.

Even the symbol of the Inn is made ritualistic. The characters

were placed in a semi-circle and the concept that the Inn is

this whole world is given. Thus the space and time are made

limitless. The growing up of the idol is ritualistic. The

ritual character 'Velichappadu' is symbolic. Vilasini, Kelan,

the mad singer etc. are symbolic too. In the use of the

language (like 'Sindabadh', 'swaha') there was an effort to

create a new dimension in Artaudean concept.

AI-4-9 . How was 'Kali' influenced in theatre-externals like in the design of costume, using of stage props, music

etc. -

The costume given to all the characters was related to

temple atmosphere that of 'the Parikarmi', 'l'halavadyakkar',

devotees etc. The dramatic as well as functional use of

'Yavanika' was there. It was used for the entrance as well as

the exist of the characters. The uses of 'pandham, 'peedom' and

'Nilavilakku' were there.

The music was done in a raw manner. The raw objects like

vessels, glasses, spoon etc. were used as musical instruments.

It was not at all in a set-pattern. The music was a mixup like

that in a ritual tribal-dance. The songs were sung in a folk

rhythm. Thus t h e a p p l i c a t i o n o f music was c o m p l e t l y p r i m i t i v e .

AI-4.10. Should t h e r e b e a n a c t i n g - s c o r e ( ' ~ t t a ~ r a k a r a m ) f o r such r-

a p l a y a s C.N. o p i n e d ? You y o u r s e l f have s u p p o r t e d t h i s

i n one o f t h e d i s c u s s i o n s on t h e a t r e . T h i s i s t h e v e r y

p r i n c i p l e o f a c t i n g i n t h e r i t u a l a r t s - f o r m s , ' Is t h i s

d e s i r a b l e i n t h e a t r e ?

There s h o u l d b e a n a c t i n g - s c o r e f o r e v e r y p l a y . T h i s i s

n o t t h e f i x e d a c t i n g - s c o r e o f t h e r i t u a l a r t - f o r m l i k e t h a t o f

'Theyyam , M u d i y e t t u ' o r . P a d a ~ a n i ' . The a c t i n g - s c o r e o f a

p l a y i s e v o l v e d o u t o f i m p r o v i s a t i o n s d u r i n g r e h e a r s a l s . I t i s

e v o l v e d t h r o u g h a combined e f f o r t of t h e d i r e c t o r a s w e l l a s

t h e actors. When a p l a y i s d i r e c t e d by d i f f e r e n t d i r e c t o r s

d i f f e r e n t a c t i n g - s c o r e s w i l l b e t h e r e . A s f a r a s t h e r i t u a l

a r t s are c o n c e r n e d , i t i s n o t 1 i k e t h a t T h e y are pe r fo rmed a lways

i n t h e s a m e manner.

. AI-4-11 HOW s h o u l d r i t u a l a r t s i n f l u e n c e modern ~ a l a y a l a m r

. T h e a t r e i n i t s s e a r c h f o r a n i n d i q e n o u s T h e a t r e ?

I t h i n k t h a t t h e ' h o l y ' a c t o r - c o n c e p t c a n b e r e a l i s e d o n l y

by t h e p e r f o r m e r i n r i t u a l a r t s . The v e r y c u l t u r e o f t h e i r

f o r m a t i o n i s t h a t . B u t t h e r e i s n o t h e a t r e i n t h e s t r i c t s e n s e .

T h i s h o l i n e s s i s l o s t i n t h e M o d e r n T h e a t r e . I a lso t h i n k t h a t

full holiness cannot be retained in Theatre which . starts

where ritual ends. Theatre is an off-shot of ritual.

AI-5.0 AVANAVAN KADAMPA

INTERVIEW WITH KAVALAM NARAYANA PANIKKAR 7-1-1993&17-11-93

AI-5.01 What is the definition of ritual? How did it

oriqiniate? How is ritual and theatre connected?

Ritual is an archetypal concept. It is a symbolic action,

doing something representing some other thing. It can be

defined as a solemn ceremonial act or observance in accordance

with prescribed rules. It is from rituals that theatre evolved.

It was also said that it was from the Vedic rituals that drama

evolved. Thus ritual and theatre are intriscially connected.

Ritual also involves an indescribable plane of relationship

between man and man. The scope of ritual is vast. 1.n all

rituals there is a poetic and interpretative plane involved. It

may have its origin in magic, religion or witch-craft.

AI-5-2 How did you come in to the strain of traditional

culture ('thanathu') of Malayalam Theatre?

The search for an indigenous theatre of Kerala started

with the theatre-workshops, first at Sasthamcottah and then at

Koothattukulam. I was a participant in Kuthattukulam theatre-

workshop. There were C.N., G. Sankara Pillai, Ayyappapanikkar,

M.V.Devan etc. They named the workshop as 'Kalari' . It is in these Kalaries there began the meaningful search for the

immense potentiality of the actor's body, in Malayalam

Theatre. But even from the beginning of the sixtees, I had been

actively involved in the search for a new theatre-form in

Malayalam. We had a theatre-group called 'Koothampalam' in

Alleppey. I believed that all literary forms including poetry

emerged from performing arts. This mutuality between performing

arts and other forms including theatre is a peculiarity of

Kerala's culture. My first venture towards an indigenous

theatre was Sakshi which was published in 'Kerala Kavitha'

along with G.S'S piratham. Then after a series of experiments

the play 'Daivathar came out. I consider Daivathar as a land

mark in the search for an indigenous theatre of Kerala.

AI-5-3. Were you aware of Artaud's or Grotowski' experiements

in actor and audience concept at that time?

Certainly I was aware of the Western theatre-experiments

of Artaud, Grotowski, Stanislavsky, Brechtetc. At the same time

I was very much aware of the indigenous theatre-culture of

Kerala, which is in no way lesser than those. And, I had the

belief that our theatre should evolve from our own ritual arts,

from our own folk-tradition. I was influenced by the western

traditions ofW.B.Yeatsand T.S.Eli~talOngwith Bhasa and Tagore

of Indian tradition.

AI-5-4 How do you use myths in your plays? In 'Karimkutty' the

myth used is said to be narrated to you by your mother.

In 'Daivathar'. it seems that there is a deliberate - creation of myth. What about treatment of the myth or

myths in 'Avanavan Kadampa'?

I have taken myths in two or three ways in my plays. Oneis

to interpret an existing myth (Eg. 'Karimkutty ) . Secondly to

create a parallel myth with the existing myth to make it

reinforced ( E g . Treatment of myth in 'Kaikuttappadu'). The

third is to create a myth upon an existing event (Eg. in

a). In Kadampa old and new myths are adopted to

interpret the modern society. All people stumble over a

'~adam~g, . . which it self is having a mythical quality. The

journey towards 'valadikkavu', the killing of <vattipanakkaraL by

'Erattakannan Pakki , the love-af f air of 'chithirapennu ' and

'Vadivelan' etc. are created myths. There is always an element

in all myths, which is shared by all the sections of the

society.

AI-5.5 In what all respect ritual arts influence our theatre?

And, what ritual arts influenced Avananvan Kadampa?

The dyngmics of actor and audience works differently in

ritual arts and theatre. In theatre actor is not like a shaman

(as in ritual arts). He has the ability to become the character,

to free from it, or to change from one character to another.

Therefore, the actor has to acquire ability more than the

'~elicha~padu: An actor should be able to return from his

transformation even from an action developed through a ritual.

But this transformation-element is there both in ritual arts

and in theatre.

I am of the opinion that even in the very composition of

the play, ritual arts may influence the playwright. The

traditional element in me was reinforced in writing as well as

in presentation when I did Bhasa's plays in original Sanskrit.

Avanavan Kadampa' is influenced by ritual arts through many

layers-in the preparation of the actor, space of performance,

constume design, using stage properties of the ritual arts of

'Padavani, Mudiyettu, Theyyam etc. and also in exploring the

possibilities of the indigenous form of lighting used in ritual

arts.

AI-5-6 What is your concept about actor-training? How was the

actor in Kadampa prepared' How were the ritual sequences

created in the rehearsals?

The basis of actor-training is to depersonalise him from

his usual self. More than that "who am I?", the actor should be

depersonalised to the extent of feeling that 'who am not I?".

TQ) this extent, his body and voice should be modulated. From his

ordinary mould, the actor should be changed in to an extra-

ordinary one. Here there is an element of artificiality. We

should know that real art is the artificial presentation of

life.

In the preparation of the actors in Kadampa' there was

the influence of the total culture of ritual arts. There were

workshops in U i , 'Vglakali , Padayani etc. conducted

for the actors*$ The steps of Padayani, and Kalari were being

practised by the actors.. This is necessary for the existence of

mutuality of the actors in theatre. These are taught not with

the intention of staging a single play, but it is meant for all

the plays.

The ritual sequences of the play had been evolved through

collective improvisations of the actors. It was G.Aravindan who

directed the play. He gave full liberty to the actors. Endowed

with a wonderful sense in music, and costume, he could

contribute to the play in its varied dimensions. Gopi (Bharat

Gopi), and Venu (Nedumudi Venu) could contribute many sequences

in action through their histdonictalents. The final script of

the play evolved after the. improvisations. It took ninety

days' intense rehearsal for the preparation of the performance-

text.

The actors were taught 'tantrzs', 'Vedas: 'chanting',

'~edamudras', 'uran juthullal' in Theyyam, to become 'piniyall etc.

They were also taught to make their voice artificial like that

of the voice in'chakkyar:

By teaching them extradaily techniques (Eugenio Barha),

the actors were lifted to a non-realistic plane which helped

them to discover 'the otherness' in them. This was the basic

aim of training. The training was essential to present

characters with mythical touch. (Transformation in the actor

should happen consciously).

A I - 5 - 8 How are the costume of ritual arts influence your

theatre? How was it is 'Kadampa'?

In any art, including theatre, imitating some other art

form is not desirable-When we directly imitate some art-forms,

it would seem to be that art-form, not theatre. We have only to

take theatrical spirit of the art -form, in its different

dimensions- This is applicable to the influence of costume

also. For bringing in the influence of ritual, 'Kuruthola'

(tender coconut -leaves) are used. When the play was staged in

Greece, instead of 'Kuruthold' foliages of trees were used. It

was an effort to know whether nature can be made part of the

play, as in ritual arts. Generally, in the costume design of

of the play, there was the influences of 'Theyyam , Mudiyettu

and Padayani .

AI-5-9 How was the us; of staqe-props? What was the ritual -- influence in it?

9 < There was the use of 'Yavanika; '~eedom, crown* made of

grass, and palm -leaves. All these were with the intention of

creating moods. The use of 'Yavanika' is an influence of the

ritual arts. I had known about its use from Bharata's

'Natyasastra'. Bhasa has also done very ingenious use of

'Yavanika'. Here 'Yavanika' is used thrice for the entrance of , d

Kttappandarangal.-. Nilavilakku' and 'Nirapara' are used thrice

during the dance-sequences. All these gave a ritual atmosphere

to the whole play.

AI-5-10 How was the ritual influence of music in Kadampa?

We have to identify that the rhythm in the ritual arts is

a powerful source of communication. The musical instruments

employed in Kada*~ -- were 'Chenda', 'Kuzhal', 'Elathalam',

'Edakka', 'Thakil' y all are taken from ritual tradition. A

rhythm called 'Savathalam' was recreated with the infuence of

the rhythm in ,Padayani'. Likewise, in many action-sequences,

music was improvised. Theatre-music should be different from

ritual-music.

A1.5-10. How was the audience in Kadampa? What is the

difference between the audience in theatre and that in

ritual arts?

What was the diff~rence, when the play is staqed in open

air and proscenium?

The 'real audience' in ritual arts is different from the

audience in theatre. In a ritual theatre the audience must have

the willingness to be with us. An audience,who resents the

participation, is not at all needed in such a theatre. The very

creation of ritual atmosphere in the play is to prepare the

audience. With the preparation of the play itself, the audience

is also prepared. All actions in the play become a part of the

audience too. In this respect too ,'Kadampaeis relatedto ritual

arts. When the play was presented in open air, Gopi confides

that it gave the actor boundless freedom. The proscenium

concept of the theatre was an imported one. We know all our

traditional art-form were presented in environmental theatres

like in temple-premises, Open air presentation of 'Kadampa' is

a clear influence of ritual arts in it. The audience showed

more participation in the performance in open air

presentations.

I-5-11 How is your theatre-concept related to'Artaudls or

Grotowski's (i) in the preparation of the actor (ii)

in the concept of the audience (iii) and in other

external elements of theatre?

I have been completly aware of the theatre concepts of

Artaud and Grotowski. All the while, I gave more stress to the

actor as well as audience-concepts in our own ritual arts. We

know that Artaud himself formed his theatre-concept of cruelty

after he had witnessed the ritual dance of the Balinese. It was

so with Peter Brook. After he saw Theyyam, he reinforced his

theories. Grotowski was also inspired by the actor-preparation

in Kathakali; When I studied them, I understood that there was

more in'our own ritual art -traditions.

AI-5-12. What should be the stronqest phase of rnodernmalayalam

Theatre? Shall it be the phase with the influence of

the ritual arts like your Theatre?

It is an indisputable fact that our theatre should have a

strong foundation. Even when we absorb something from an alien

culture, we should have something of our own. Indian theatre is

a combination of all cultures of our indigenous art-forms. I

believe only in such a theatre. My theatre is recognised to be

such a one. It has come in to existence through a long process

of evolution and experiments. If my theatre-culture with its

ritual influence will evolve as the strongest phase of

Malayalam Theatre, I will be the most happy man.

MUDEVI TIIEYYAM

AI-6.0 Interview with S.Ramanujam 29-11-1993

AI-6-1 What is the relationship between ritual and theatre?

Ritual is not merely some recitation or 'mantras'. Some

actions like gestures or 'mudras' are connected with it. Ritual

is a kind of convention deeply rooted in society. Making

convention is also the basis of theatre. This is a common

element in theatre. In all rituals there are some way of

enactment which is connected with theatre. Physical as well as

spatial performance in ritual arts is in a way, an extension

of rituals in our culture. (Eg. '~alam ~arakkal' and '~alam

~~yikkal' in 'Mudiyettu ) . This action-part of rituals arts is

to be absorbed intotheatre. There is the power of action in

theatre which Artaud wanted to take into theatre.

Also, the belief-part of the actor in Ritual arts is also

a lesson for the actor in the theatre. The effort on the part

of the actor (with a difference) should be there (Ref: to Staqislav-

sky'smemory andbelief). It is the duty of the actor to make the

audience believe that he is doing something.

Theatre is indeed for entertainment and enjoyment* Rituals

are not. In theatre the audience comes for enjoyment But in

ritual arts, the audience comes for participation. The

transformation-level occurs in the performep in Ritual arts and

in the theatre is different (Eg. The transformation in the real

'~elichap~adu), and a 'velichappadu' in theatre as in the

'velichappadu' in , 'Karuthadaivam' and the 'piniyal' in

'Mudevi Theyyam ) .

But ritual enriches the power of the action, influening

the actor as well as the audience. The element of power in

ritual is a lesson for the theat-re worker.

AI-6-2 Was there any specific training qiven for the actors to

prepare for the performaace? How much time was taken for

rehearsal before the first performance of

'Mudhevitheyyam'?

There was continuous and intense rehearsal for thirty

days. I studied Theyyam, spoke to Theyyam-artises and thus a

mental background was prepared first of -all. . .

I asked the actors to move with Theyyam-artistes, even I

engaged a Theyyam-artistein the performance*

In the play only at the beginning and end Theyyam is

coming).. the rest of the play is in a realistic plane. The play

is almost like a nostalgic memory of a person about Theyyam.

AI-6-3 How was the myth treated in the play? Was it an invented

one or a myth already existing?

It is a combination of so many myths, the predominent

part, being'~uchi1ott-~hagavathi' . It is moulded story, in that sense, the myth is a created one. The playwright had the idea

that the play should not seem to be written for incorporating

Theyyam- My idea was also not to present'l'heyyam on the stage.

AI-6-4 In scene 2 of the play, the concept of conducting the

exocist-ritual 'Sarpapooja' is given. In scene 3, an

elaborate performance of '~arpa Poo ja' is given when this

ritual is taken in to the play, was there any theatrical

chanqe effected? What was its function?

Even though in the script, there is the actual 'sarpapoo jg,

I have not used it as it is. I have used some kind of an oracle

by a woman* We created a ritualistic environment (with the help

of A.K. Nambiar, a rythm was given). It was to effect

possession in the actor. But the actress was transformed only

to .an extent.

The ritual is a device of the dramatist to mythification.

Oracle is a part of religious faith. It is to make the people <

believe to go to ~anjiramaram) and touch it.

AI-6.5 =were the actors prepared in 'MudeviTheyyam'? Was

there any influence of ritual arts? What were the

context of ritual-arts' influence In '~udevi Theyyam?

The actors were already prepared by the school of Drama*

They were given completly an Indian atmosphere- As for the

realistic part, they actors had a gtanislavskian-system with

them* The Grotowskian style of preparing the actor was also

there.

The contexts of ritual arts.

i) Colourful festival atmosphere of Kerala, using bamboos,

'~uruthooli, leaves of mango tree etc.

ii) The introduction of the oracle -scene (Exorcist-songs

were introduced).

iii) In the introduction of '~alan-Theyyem' (only for a

few seconds the Kalan-Theyyam' was introduced). The aim was not

to present the ritual, but to make the rituals, theatrical.

AI-6-6. How were the movements and choreography influenced by

ritual arts? What are the Artaudian or Grotowskian.

influence.

I In the oracle-scene (Isarpapooja), the ritual choreography

is adopted. But all movements were improvised and created. The

basic rituals cannot be taken as they are in the theatre* The

theatre always wants a new idiom, it is combined of new

sensibilities, noble notions and feelings. Visually we have to

evoke the senses*

Remember, Mudevi Thevvam is only a play not a Theyyam.

(Artaud has given the real meaning of the theatre, he said that

the language of theatre should be discovered and the rituals

have the power to do it.) This was what I experimented in

'Mudevi Theyyarn'.

I created a visual language in theatre with the influence

of Artaud, Grotowski and others with my own way of direction. I

took elements from ritual- arts and made theatrical idioms from

them. Idiom means the way of presentation which makesus

understand something, not only emotionally, but intellectually '

also.. In the theatre we have to create new idiom.

AI-6-7. What about the transformation or transportation of the

actors?

The actor was, as if he was possessed, but he was not

actually possessedi This is really the language of the theatre*

There was a demarcation. Mine was not a copy of ritualistic

presentation, I was never worried about the transportation of

the actor, it automatically came.

AI-6-8. What is the difference between an ordinary play and a

play with a ritual-atmosphere when presented before an

audience? What was the experience of 'Mudevitheyyam'?

In Aranattukara and Delhi the play was presented>

(before rural and urban audience, in open air and in

proscenium).

In their rural presentations (Mudevi Theyyam and

Karuthadaivam), the people were easily identifying the ritual

elements in them, because they were already familiar with them.

But they accepted the ritual-idioms in the play as fheatrical.

The urban audience (in elh hi) were really thrilled by the

ritual elements, they wanted to see them more in the play. Even

without understanding the rituals, they accepted them as

theatrical language.

Here the rural aswell as the urban meet. This shows the

power of rituals as theatre -language. Here lies the real

significance of using rituals in theature.

What I made in MudeviTheyyam was just to create an

illusion of Theyyam on the stage, it was a kind of representing

something not directly showing something.

AI-6-9. Ritual influence on 'Mudevi Theyyam' and

'Karuthadaivathethedi'.

",Karuthadaivam' or 'Mudevi Theyyam is written for the

M'odern Theatre to use ritualistic elements ie. the Modern

Theatre should have the power of ritualistic elements. It is a

truth that we have to be stylistic to penetrate more into

life's experience. Rituals help us here. Rituals will not

evolve because of one person, it is evolved through a

collective mind. Collective consciousness makes a ritual

always. This is what happens in the theatre also.

AI-6-10. In the first scene, we see'~heyyam'is introduced. In

the last scene, there is the introduction of 'Kalan-

Theyyam' and 'Kandakaranns' - How were they introduced - theatrically?

. I have not taken them as they are. I have not introduced

any Thevvamsr Only a festival atmosphere was given-

'Kandakarnans' were introduced by me, not by the playwright*

They were from .&rishnanattom',. I thought it would be good

theatrical device. Theyyams were presented only for some

moments.

AI-6-11. How was music employed in the play? Any influence of

Theyyam? What are the stage props--used?

i So many 'thottams' from Theyyams are sung during possession- scenes. :

In the '~aruthadaivarn' , for intercourse. - scene ' ~ a ~ a ~ ~ a t t ; is I 1

used for all'symbolic represantation: - r 1

In .@udevi Theyyam, the use of music was functional. It is not

symbolic representation.

In .pludevi Theyyam' , colourful ritual - flags were

introduced. All ritual flags were introduced. All ritual

properties like tender coconut-leaves, etc. were used. Solid

ritualistic elements were brought there. In ‘~alan-t hey yam: the Kandakaranan were introduced with actual ropes, and shulam.

Thus the spectacle was intensified.

AI-6-12 How can we connect the concepts of Artaud and Grotowski

with the presentation of the plays?

As a director, I was well informed .of Artaud and

Grotowski. When I approached 'Budevi Thevvam', even though I

did not apply consciously these principles, they were a part of

the presentation. (It was the Balinese dance, almost like

Theyyam-dance. which influenced Artaud. In Grotowski, the

physical movements of the actor were the dominant thing as in

The constant Prince) .

The actors (the students) were well-trained, Kuttanchakyar

trained them in Koothu, Kannaperumannan trained them in

Theyyam, Kalari, teachers in Kalari, Mudiyettu Asan in

Budivettu.. .. Thus they were both trained in Eastern and

western cultures

A!--6-13 Was Grotowski, seeking for ritual-theatre.in essence,

in his concepts of the actor as well as the audience?

We are very much aware of his theories of poor theatre,

holy actor-concept, audience-participation.etc..

The essence of his theory is that the actor should remove

the blocks in him to become fully the character. He was

interested in preparing the actor (while Mayorhold and Brecht w€rc

thinking oftheapplicationofthe actor to the stage). Grotowski

went beyond the concepts of actor and theatre,.Hewentawayfrom

theatre r' But we cannot take theatre away.

AI-6-14. What should be the strongest face of modern Malayalam

Theatre? Is it with indigenous elements?

This question has to be answered with a wider perspective

of Indian Theatre as a whole. We can make use of the ancient

forms prevalent in India, to give a separate identity to our

theatre. In Malayalam, there are more forms of ritual arts. We

are going to ritual theatre to identify ourselves the root of

our theatre-culturey the root from which we have to form our

theatre-culture. For this, we also have to identify a common

thread with other parts of India. (Eg. The Geetha Govinda)

Similar pulses are happening in Tamil Nadu, Manipur, Bengal,

Karnataka etc.

Kerala Theatre derived from its own culture should be the

strongest phase of modern Malayalam Theatre.

AI-6-5 What is the position of Malayalam Theatre today?

G. Sankara Pillai had a meaningful theatre. He tried for

all forms of Theatre, Western styles and 'Thanathu'. But the

question is how should we assimilate the traditional forms. It

must be re-creation, not re-presentation. I think, the Malayalam

Theatre has to wait for another provocation for re-building.

A G N I

AI-7.0 Interview with Vayala Vasudevan Pillai. 26-11-1993

AI-7-1 How was your theatre-concept formed? What all elements of

the East and the West influenced you in that respect?

I began my theatre - career during the 70s. I wrote

Viswadharsanam in 1975. ~akkarasi, Kathakali, ~ampidikali etc.

were familiar to me. Then I began to study the otherforms of

ritual arts. I began to study the western masters like Artaud

Grotowski, Schechner, etc. afterwards. When I came to understand

the holy-actor concept of Grotowski, I realised that as far as

the indigenous theatre of Kerala is concerned, it is not a new

one. The concept is already there in the tradition of Kerala's

performing ritual arts like Mudi~ettu., Theyyam., .Padayanis,

Koodiyattom and '~athakali. In the sacrificial aspect of the

ritual performer, the holy-actor concept of Grotowski can be

perceived.

AI-7-2 How should a ritual influence theatre? When a ritual is

taken in to theatre what all chanqes occur in the actor

as well as in the audience?

I do not agree with taking the ritual as it is. A good

play should not take a ritual as it is. Here I may refer to

Peter Brook's comment that all past rituals are dead, we have

to re-create new rituals to interpret modern life. How should

ritual be recreated in theatre? We know that in all ancient

ritual arts, there is a particular culture of rhythm, colour,

music and movement. In the process of creation of a drama,both

in writing and in presentation this culture enters the play-

wright or director quite unknowingly. Here begins the ritual

theatre. In the process there is the replanting of the ancient

art -forms. When the audience witness such a play, there occurs

the dissolution of their outer conscience, and the representa-

tion enters into their internal self. I am of the opinion that

this happens to every type of audience irrespective of their

caste, creed or class. Then the audience recognise that they

are awake at heart and in their mind, they are alert. In this

respect the audience in the ritual arts and the audience in the

modern theatre become one. The individual through his mind

passes on the social mind, from there to ancient culture.

Fixing his mind in the ancient culture, he can compare the

contemporary life with the ancient one. It is in this respect

that ritual is relevant to the modern society,

AI-7-3 What is your idea about the actor in a theatre? What is

its relevance to the actor-concept in ritual arts? How

was the Actor in 'Agni' prepared?

Certainly my actor-concept is influenced by the ritual

tradition of the indigen-ous theatre of Kerala. The holy-actor

concept in Grotowski, had been there in our ancient theatres of

ritual arts. We know that the holiness is acquired through

intense training of the mind and body in all our ritual arts.

In 'Theyyam. or ,Mudiyettu' we see the element of sacrifice on

the part of the actor. It is this concept of sactifice that we

see in Grotowski. In preparing the actor in the school of

Drama, I lay stress to Eastern as well as the Western culture.

The elements of Kalari, Koodiyattom_, Yxa, Theyyam, Mudiyettu

Pada~ani etc. are taken along with Stanislavskian- system,

Artaudian theories and Grotowskian principles. All these were

intended to prepare the mind and the body of the actor.

In preparing the actor in i too these cultures

influenced me. a i was presented just after I met Grotowski

and interviewed him. Surely, therefore, the Grotowskian way 4

of actor-preparation influenced me. The actors in Agni' were

given physical, mental as well as vocal excercises, and an

intense rehearsal for about two months was given before the

first presentation. The action sequences were improvised

through a folk-lore culture in rhythum and movement.

AI-7-4 Please compare the transformation and transportation

happening in the performer of the ritual arts and in

the actor in a theatre. How were these in the actors of - ' Agni ' ?

The dual feeling of the actor as well as the character is

essential for the success of an actor in a theatre. But in the

performer in the ritual arts this dual feeling is less. Inspite

of the divine element in the performance, there is the feeling

of duality. While in performance,I witnessed,the actors passing

on to a transformation. But it was not up to the level of a

performer's transformation in ritual arts. But I had trained

them already to note the demarcation in the level of

transformation. Therefore, always they kept the feeling of

actors with them. So it was not very difficult for them to get

transported back to their original self. The self-alienation of

duality always worked in them.

AI-7-5. How was the myth in-~gni'treated? What is its ritual

significance.? --

The very concept of *i is mythical. 'Agni' is the symbol of

purification and destruction. Prometheus is the symbol for the

means of reviving strength in the weak. In the play this power

is symbolised through Unni. The burning pyre of the mother

becomes the symbol of power for the union of the divided

sons. They unite only with the sacrifice of Unni. This

sacrificial aspect becomes the soul of the play. Thereby, the

pray becomes ritualistic in essence. Thus the myth is recreated

here to interpret the modern life.

AI-7-6 The ritual concept of the audience in 'Aqni' ---

The play had been presented before different types of

audience. The ritual concept of the performance made the actors

and the audience united for a common creation as in a ritual

theatre. The experience of a ritual atmosphere was there with

the actors as well as the audience. Therefore, I felt the

audience also experienced a transformation and transportation. I feel

that the audience who could break into the inner meaning of the

play could lead them to a cosmic tragic vision of human life.

This conscience of the audience is connected with ritual. This

sharing of the tragic vision of life also happens in ritual

arts.

AI-7-7 How did rituals influence the costume desiqn of the

actors?

The design of the costume was like that in a folk-art.

The whole upper part of the body of the actor was laid bare.

Thus he was free enough to present his own body-language. The

body-dynamics of the actor was discovered by our own ancient

masters of Theatre, like Bharata. It has been from the East

that Westerner learned the possibilities of this potentiality.

The actors used the pattern of 'Kuthiyudukkal' (a type of

fixing the cloth around the waist), which was taken from our

traditional culture. This, the folk as well as the traditional

culture,influenced me in designing the costume of the play.

AI-7-8. What were the stage props used in the play? How were

they connected with rituals? -

I think, the whole atmosphere of the play is fertile

.enough to use ritual stage-props. Most of the stage-props were

improvised through the body movements and postures of t h e

actors. A '~avanika'was used at the time of the myth-enactment

of Prometheus's story. The use of '~avanika' is for theatrical

function. In the place of 'peedom' different planes were

indicated on the stage. By the use of this, the central symbol t

'Agni', the reinforcing symbols of the river Ganga and the t mother, could be projected on the stage through out.

AI-7-9. How was the ritual influence of music : liqht used in --- -- 'Aqni'?

The basis of the composition of 'Agni' is 'Thauryathrika'

(Geetha, Nritha, Vadya) I treated the myth of Promethius in a

poetic way- The musical instruments mainly used were 'Chenda'

and 'flute' . They had their own roles in the ritual sequences of the action in the play. The ritual application of light was

employed in the Scene where Unni brings 'Agni'r Originally I

had the idea of using 'Choottu' (bundles of dried coconut

leaves) as in 'Theyyam. or Padayanit But thelimited scope of

the proscenium prevented this application. The chorus comes

with burning-torches in their hands and surrounds Unni with a

ritualistic dance.

AI-7-10 How should a modern theatre-worker draw inspiration

from ritual arts in a positive way;

This is often left to the freedom of the artist. In modern

Malayalam Theatre, there occurred good presentation drawing

inspiration from ritual arts. C.N.'s i , G-S'S 'Mudevi

Theyyam', 'Ekaki', 'Karuthadaivathethedi' and most of Kavalan's

plays are examples of this. Talented young Playwrights like

Narandera Prasad, P. Balachandran, Baby, N.Prabhakaran etc. /

have the.'. . roots of their theatre-concepts in the ritual-arts

tradition. It must be mentioned here that there had been

negative influences. The replanting of the outerstructure of

the ritual arts would only weaken the power of presentation.

This is against the very concept of Theatre. In my opinion this

must be prevented to remove the misunderstanding in this search

towards discovering an indigenous theatre.

AI.8.0. Interview with Gopalakrishnan

(Main Actor in Sauparnika)

20-1-1993

AI.8.1. How do ritual arts influence '~auparnika'?

The very atmosphere of Sauparnika is ritualistic.

Footworks in Kathakali, Mudiyettu, Padayani etc. have

influenced the movements of the characters very often. The

very concept of 'Yakshi', the temple, the Brahmin family etc.

are ritualistic. The employment of masks, 'Kuruthola', Stems of

plantain, 'Kothirithattus', the rituals during Unni's

'Upanayana' etc. provide an aesthetic ritual atmosphere to the

play.

AI.8.2. How is the myth treated in the play?

The treatment of myth in the play can be interpreted

differently. The playwright himself says (P-23) that the very

concept of 'Yakshi' is the desire incarnated. A simple

interpretation can be possible by saying that the carnal desire #

in man leads him to an inevitable tragedy. '~au~arnika is also

the power which leads Venmani from ignorance to knowledge. May

be out of this obligation, Venmani becomes a slave to that

power. In this respect it has got a current relevance.

'Sauparnika' may be the embodiment of womanhood, in the

imagination of the palywright, while 'Tatri' the stark reality

incarnated existing in the mundance plance. 'Sauparnika' may

also be the symbol of all values. A good director can

interpret the play differently.

AI.8.3. In what all ways, the sequences of action in the play

infuenced by ritual arts?

Some sequences can be given as examples. In the

'Kalamvarakkal' scene (P-24), a 'Yavanika' with a picture of

'Yakshi' drawn on it was already spread on the stage. It was

slowly raised in an atmosphere of chanting 'mantras' as if the

'Yakshi' was rising and emerging from it. The 'mantravada'

scene (P-22) was improvised by the actor Murali. At that time

'the chorus' produced a 'Mantradwani' in the back-ground, and

thus a 'tantric' atmosphere was created. It was actually a

recreation of a scene in 'Mantravada'. The upanayanasceneof

Venmani and the 'sloka' at the end of the first scene, created

a ritual atmosphere. The concept of the character 'Muthachan'

itself is choric, prophetic or shamanistic. Similarly,the oath

scene (P-38), the 'upanayana' of Unni, the curse of 'sauparnika',

the death scenes of '~uthacchan', '~chan' and"venmani' are charged

with ritual atmosphere. The death scene is presented with a

ritul tribal dance.

AI.8.4. How were the uses of stage-props, music and liqht in

the play? Were there any influence of ritual

performing arts?

There was the ingenious use of 'Yavanika' with theatrical

functions. The use of 'Peedom' was made use of with a bench of

a nine inches height. Four small masks were used. The 'homa'

scene of '~aladi' was presented through a dance of the chorus

using masks. 'Mrithangam' , 'Thampuru' and'l lathalam' etc. were used as musical instruments. For preparing the 'Yakshithara',

'Kothirithattu' and 'chirath' were used. Through an ingenious

use of 'Naithiris' the consummation scene of 'Yakshi' and

Venmani was presented. Thus, the use of light was generally

influenced by traditional concepts.

AI.8.5. How was the audience participation in the play?

When a play with ritual influence is presented, there

would be more participation of the audience in the emotional

level. Sauparnika is written for a proscenium stage, and the

audience take it like that. The limitation of a proscenium

stage was there. I think, it was appreciated by the audience

more in the aesthetic level. The enchanting music and the

poetic treatment of the spectacle, made the play a beautiful

creation.

AI.8.6. What message should the modern Malayalam Theatre

receive from the ritual performing arts?

As an actor, I feel that the strongest element in the

ritual performing arts, is the extraordinary power shown by the

performer. This is a theatrical lesson for the actor in the

Modern Malayalam Theatre. Similarly the aesthetic and /

meaningful spectacles of the costumes give many lessons to the

Modern Theatre. In search for a new and powerful Theatre in

Malayalam, the take-off board would be the theatre culture of

the ritual arts.

NADUGADDHIKA

AI.9.0 Interview with K.J. Baby

22-10- 1993

AI. 9.1. Please explain the ritual '~addhika'.

It is a ritual prevalent in the aborigines 'Adiyars'. It

is performed as an exorcist-ritual during the time of illness

or epidemic or on a haunted person. When affected by these, a

family may ask 'the ~addhika'-group to perform the ritual in

their hut. The group with the leadership of a 'Mooppan' may go

there, singing songs in praise of ' ~ i v a or '~avilamma' and would

perform the ritual. '~aduqaddhika' is performed only once in a

year. This is to exorcise the illness of the whole village by

'the ~addhika'-group. This is usually seen in Thirunelli in

Kannur. Wearing peculiar costumes, making 'Guda' (small temple

like structures) with fire-wicks fixed on them, the gorup would

go to every house of the village. Singing and moving, in a

certain pattern, they would approach the door where the patient

is lying. When the patient comes out, the group through a

trance-dance would exorcise the illness.

The leader of 'the GaddhikaV- group would wear a piece of

red-cloth around his waist and a white one around the head.

They would have lights in small earthern cups. Usually,

Gaddhika would be performed during day time. They would be

given rice and other eatables from every hut.

After that they would return, all the people accompanying

them as participants. No female member of the clan would join

the group. After completing their round, they would reach a

part of the forest, where they would eat out all the things got

as offerings. The origin of this ritual may be out of the fear

of epidemic like malaria.

AI.9.2 Who are the spectators in the ritual?

As in all other ritual arts, there are no spectators in

this ritual. There are only participants. All people who come

to witness the ritual become the participants automatically.

Sometimes people who come from outside, just to see it as a

spectacle or to study it may remain as audience in the strict

sense of the term.

AI.9.3 Why have you based your play on the ritual Gaddhika?

Before staging or writing Naduqaddhika, I had no prior

knowledge about theatre. I had no acquaintance what so ever

with a formal theatre or play. My acquaintance with theatre

began when I created an art from 'Apoorna' (I fear to call it a

play) and staged it. The response from the audience,

especially the Adivasis, was very inspiring. Thus a theatre-

culture was born in me spontaneously.

It was then I happened to see the Gaddhika ritual one

day. I discovered it as the most appropriate form to register

my protest against the age old exploitation of the Adivasis,

irrespective of the changing rulers. The exorcist form of the

ritual is most suitable for the exorcism of the maladies of the

modern society, I felt. Thus the origin of the play was

spontaneous, hence its power of purity.

AI.9.4 Who were the actors in 'Gaddhika'? Are they connected

with the original performance of the ritual?

During the first phase of performances of the play,most

of the actors were directly connected with.the ~addhika' ritual

itself. Some of the actors were performers of the ritual. SO

the play had tremendous success when staged in Adiya-centres.

They took as a part of their life - their life's experience. But when the play was staged in urban centres, the urban

audience took it only an art-form. There was less emotional

sharing. This clearly shows the ethnic difference of the

audience. O n hearing the utterance 'Paikinto' at first the

Adivasi-audience used to laugh, but when it was repeated they

began to cry. So much was the emotional sharing. All the

Adivasi-audience saw the play as their own life.

AI. 9.5 How was the ritual 'Gaddhika' utiliu~d i n tlin p l n y ?

It seems that so many times it is rep&ed in the play. . Was it done for more theatical effect or to attract

the Adivasi audience towards it?

When I took the ritual into theatre, I had not taken it

as it is. I have taken the basic movements and the steps.

And, the concept of going to every house of the village, by the

'Gaddhika- group is also absorbed into the play. As the

Gaddhika-group goes from one house to another along with its

participants, the drama troupe, after staging at one place,

goes to another with almost all the participants.

A1.9.6 Music in the play

I have not taken Gaddhika-songs as they are to the play

but composed songs of the same rhythm. The underlying rhythm

of the play is the basic rhythm of Gaddhika. ritual. When the

actors sings the songs with the rhythm, the adivasi-audience

suddenly recognize, it and involves into it emotionally. Their

musical instruments like 'Thudi' and 'Kuzhal' and 'Chola' are

used in the play. 'Chenda' is used when Thampuran enters and

exists.

AI. 9.7 How were your actors prepared before the first

performance?

Before the first performance, continuous three months'

training was given to the actors. The adivasis were not at all

endowed with particular histrionic talents. But my first play

Apoorna took about one and a half years to be completed. It

was difficult to make the Adivasis, the characters of

Adivasis. Formal theatrical exercises were unfamiliar to me,

but I gave them other known physical exercises. I tried to

shape in them what was really in my mind.

Today, after my acquaintance with training process, I

tried to do some theatre-games with them,which would provide

physical and mental exercises to them. This would continue

from morning to evening, After some weeks' training physically

and mentally, they would be changed, would be ready for

performance without any stage. fright.

As about actor's contribution, when Naduqaddhika was

rehearsed, as most of the actors were Adivasis and some were

directly connected with 'Gaddhika' ritual, they could

contribute immendy in music, rhythm as well as movements,

which were their culture and which sustained as the background

of the play.

AI.9.8 When they come as characters, are there occurring anx

transformation in them?

During the first performance phases. this used to occur,

especially to those actors who were Adivasis themselves. The

play ends in a violent ritual movement akin to that in

~addhika: After this,they would be completely exhausted and it

would take some time for returning to their self. The dance

would be according to the rhythm of their 'Thudi' ("Taint.. . Taint...) They would use their whole body for the dance. But when

the play was repeatedly performed, this transformation seemed

to be quite mechanical.

AI. 9.9 What about the costume used in the play?

The actors would put the costumes themselves. Deep

colours would be used. The paste used in the play is the same

used by the women of the community.

I The narrator or '~addhikakkaran, wears the same red piece

of cloth around his waist which acts as the symbol. It has got

the functional use towards the end of the play. After

'~addhikakkaran' is arrested and taken away there is a struggle

on the stage to possess this piece of cloth and the person who I

gets this becomes the next '~addhikakkaran. All other costumes

are designed to suit the characters.

AI.9.10 Please explain the use of myth in the play.

While I was wandering and sometimes living with these

tribes collecting some tribal songs, a wonderful myth of the

goddess 'Mali' was sung to me by a tribal girl. In those lines, ,

I saw a mythofMelorachan and Keeyorathi which intellectually

enslaved these Adivasis from ancient times. From it, it was

very clear that more than the physical enslavement, it was the

mental enslavement inflicted on these helpless people. (The

myth is explained in detail in my novel 'Mavelimantom' - pp 26-40) (the myth is referred to p.20 of the play).

AI.9.11 How was your experience in audience-participation?

It was really the audience participation that made this

artistic venture a play. Where everwe went, the response of

the audience was nearly total. When the audience were the

Adivasis, of course, the response was greater; they felt as

participating in their own rituals. In some places, the

performance equalled to a festival. At the end of the play,

the audience would rush forward, and there would be a group

dance of the actors and audience.

I believe the success of the play lies in the perfect

balancing of efficacy and entertainment.

When the play was taken out of the rural areas and

performed before the urban audience, the response was slightly

different. Their view point was to enjoy an art-piece, not to

participate in it. Some places we were forced to present the

play in proscenium stage. Not only it limited the power of the

play, it curtailed the immense freedom of it in its varied

dimensions. So, at heart, I am vehemently against presenting

the play in proscenium.

AI. 9.12 Again some questions about the actors-

You said. in some cases, there occurred a transformation

in the actors. Whether it happens or not, how do the acgors

return to their original self after the performance?

In actual ritual of 'Gaddhika' the main performer

(~oopan') goes into a trance-dance. He returns to his self by 1

drinking water mixed with 'Kari'. It is a part of ritual

(Novel-Maveli Mantom p.170). In the play, after the

performance, there occurs a natural cooling process. After

removing their costume, they drink, smoke, chat and comment

upon the performance.

~1.9.13 Properties used in the paly.

There is no use of 'Nilavilakku', 'Yavanika' or any

planes. Even the make-up is usually done openly.

AI.9.14 In the play (p-49) there is a referenceofthe

emerqence of 'Rakthakolangals'. What is the

significance?

The underlying tone of the myth is really brought here. 1 t

The Kolams are actually '~elorachan' and keeyorathil referred

earlier. The character, 'vella: is crying out to them for help. /

They were conceived to be converted into Theyyams coming to

the help of the helpless girl. In the play they are dancing

in between Thampuran and the girl. The movements here are

borrowed from Adiyark ' m a ' .

PULIJANMAM

Interview with N. Prabhakaran

AI.10.0 How should modern Theatre get inspiration from ritual

arts? How was the influences of Theyyam or other ritual

arts in 'Pulijanmam'?

AI.10.1 I have been born and brought up in the culture of

Theyyam. When I witnessed the ritual performance of the famous

Theyyam 'Pulimaranja Thondachan', the high element of drama in

the last moment of the performance where '~ari~urukkal' in the

form of 'Puli' roars helplessly, unable to get back to his

original form, fired my imagination. It is the belief in the

last scene which inspired me to write Pulijanmam. There was no

notion of the influence of Theyyam or any other ritual art to

influence my writing at the beginnig. However, a beginning

suitable to the last dramatic scene emerged in me. In the

presentation also the beginning and end were very successful.

Only the theatrical culture of ritual arts influence Modern

Theatre. As thetheme of Pulijanmam demands the theatre-culture

of Theyyam, all theatre - elements inherent in Theyyam

performance are absorbed into the play. In the play the dream

of 'Vellachi' is delineated through the folk-fozm,Chimmanakkali.

The dramatic end of '~ari~urukkal' was presented through the

ritual 'Thiruyuzhichil.'

~1.10.2. How were the actors in 'Pulijanmam' prepared? What were

the ritual influences in their preparation? How much

time was taken before the first presentation? Were there

any contributions from them?

The actors were already with the culture of Theyyam.

Some of them were even Theyyam-performers. Inspite of that,

they were given some theatrical exercises and training so as to

make them adaptable to the theatre. A continuous, intense

rehearsal for about three months was needed before the first

presentation. As the actors were well-versed in ritual arts as

well as theatre, they could contribute much, during the

improvisory sequences in rehearsal time.

~1.10.3. How wast he myth 'Pulimaran ja Thondachan' treated in the

play? In the introdcution of the characters 'Pottan',

'Gulikan' and 'Kurathi', how was the influence of

Theyyam?

In the original performance of 'Thondachan's 'Thottam'

these three 'Theyyams' are appearing. One of the best action

sequences of the play is the encounter of '~arigurukkal' with

these characters. They are presented as the symbols of

internal conflicts of '~ari~urukkal's self. In the play they

are appearing in the costumes of Theyyam with a slight

theatrical difference. The tone of the dialogues given to them

was not exactly Theyyam's, but the rhythm was kept there. the

movementsgiven to them are also adopted from 'the Kalasams' of

Theyyam.

A I - ~ O - ~ . Y O U have said that the most of the actors of Pulijanmam

were with Theyyam-culture. Were there any transformations

in them towards a trance as in Theyyam-performance? If

so it desirable? How was they transported back to their

oriqinal self?

Eventhough they were with Theyyani-culture, in the theatre

of 'Pulijanmam' they were specially trained only as actors. So

as in Theyyam-performance, they never went into a trance. But

as they were with ritual culture, the degree of transformation

was more thaninan ordinary actor, when I watched them after

performance, they appeared to be too much emotional, and they

took considerable time to return to their original self. I

felt that they were undergoing too much physical strain while

acting.

A.I.10.5 How was the influence of the performance on the audience?

Did the ritual influence of the play,change the response

of the audience? Did they rise from the level of

spectator to the participants as in ritual arts?

The play was presented both before the rural as well as

urban audience, in open air as well as in proscenium. There

was an emotional response even to the level of participation

among the rural audience. There was the experience that the

old generation telling the story to young ones to prepare them

to enjoy the play. Once, a spectator even gave money to the

director, taking him to be .'the parikarmi'. of a ritual art

(like 'Polikkal'). This meant that the audience rose to the

level of participants in the performance of the play. This

sharing by the audience was not experienced when the play was

presented before the urban audience. But there was the

nostalgic response from them. When the play was presented in

open air. the response of the audience was greater. When

presented in proscenium they remained only as spectators, with ?J

the tendency even to criticise the play. This never happened

in open air presentation. One thing, I can say for certain,

that the audience approached the play not in the conventional

way of seeing an epic or historic play. They recognized some

elements connected with their own life in the play.

AI-10.6 What.all ritual stage-props used in the play?

In the ritual presentations coconut leaves with a

particular design was tied in the place of the back curtain.

At the side of the performance space, decorations of tender

coconut leaves were given. 'Kothirithattu' made of plantain

stems was used on the stage in the last scene. The

preparation of the stage was like the place of an exorcist

ritual.

AI.10.7.What was the influence of rituals in the application of

music and liqht?

All thorugh the play the rhythm of Theyyam was given.

The main musical instruments were 'Chenda', 'Ilathalam',

'Edamthalachenda', 'flute' etc. Different 'Chats', lines from

'Thottampattu', 'folklore' hummings were used for theatrical

effects. The stage was illuminated by 'Naithiries' (ghee-lamps)

in coconut shell-haves throughout the performance, the use of

electric light was minimum-'Kothirithattu' with ghee-lamps was

used. In the climax scene of Gurukkal's fall, by an ingenious

use of ghee-lamps (Naithiris), a ritual end to the play was

effected-