Relevant bibliographies by topics / Kathakali plays

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Academic literature on the topic 'Kathakali plays'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Kathakali plays"

1

Madhavan, Arya. "Redefining the Feminine in Kathakali." New Theatre Quarterly 35, no. 02 (April 15, 2019): 169–86. http://dx.doi.org/10.1017/s0266464x19000071.

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In this article Arya Madhavan examines the significance of the female protagonist Asti from the new Kathakali play, A Tale from Magadha (2015), in the four-hundred-year-old patriarchal history of Kathakali. The play is authored by Sadanam Harikumar, a Kathakali playwright and actor, whose contemporary retelling of Hindu myths and epics afford substantial agency to the female characters, compelling radical reimagining of Kathakali’s gender norms and a reconsideration of the significance of female characters, both on the stage and in the text. Asti unsettles the conventional norms of womanhood that have defined and structured the ‘Kathakali woman’ over the last five centuries. Although several new Kathakali plays have been created in recent decades, they seldom include strong female roles, so Harikumar’s plays, and his female characters in particular, deserve a historic place in the Kathakali tradition, whose slowly changing gender norms are here analyzed for the first time. Arya Madhavan is a senior lecturer in the University of Lincoln. She has been developing the research area of women in Asian performance since 2013 and edited Women in Asian Performance: Aesthetics and Politics (Routledge, 2017). She is a performer of Kutiyattam, the oldest Sanskrit theatre form from India, and serves as associate editor for the Indian Theatre Journal.
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Pitkow, Marlene. "Kathakali: Kottayam Plays (review)." Asian Theatre Journal 21, no. 2 (2004): 226–30. http://dx.doi.org/10.1353/atj.2004.0023.

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3

Lieblein, Leanore. "Review: Play: Kathakali-King Lear." Cahiers Élisabéthains: A Journal of English Renaissance Studies 38, no. 1 (October 1990): 71–73. http://dx.doi.org/10.1177/018476789003800113.

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4

Zarrilli, Phillip B. "Psychophysical Approaches and Practices in India: Embodying Processes and States of ‘Being–Doing’." New Theatre Quarterly 27, no. 3 (August 2011): 244–71. http://dx.doi.org/10.1017/s0266464x11000455.

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This essay articulates a South Asian understanding of embodied psychophysical practices and processes with a specific focus on Kerala, India. In addition to consulting relevant Indian texts and contemporary scholarly accounts, it is based upon extensive ethnographic research and practice conducted with actors, dancers, yoga practitioners, and martial artists in Kerala between 1976 and 2003. During 2003 the author conducted extensive interviews with kutiyattam and kathakali actors about how they understand, talk about, and teach acting within their lineages. Phillip Zarrilli is Artistic Director of The Llanarth Group, and is internationally known for training actors in psychophysical processes using Asian martial arts and yoga. He lived in Kerala, India, for seven years between 1976 and 1989 while training in kalarippayattu and kathakali dance-drama. His books include Psychophysical Acting: an Intercultural Approach after Stanislavski, Kathakali Dance-Drama: Where Gods and Demons Come to Play, and When the Body Becomes All Eyes. He is Professor of Performance Practice at Exeter University.
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5

chatterjea02, Ananya. "Kathakali Dance-Drama: Where Gods and Demons Come to Play." Theatre Journal 55, no. 3 (2003): 556–58. http://dx.doi.org/10.1353/tj.2003.0099.

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6

Pitkow, Marlene. "Kathakali Dance-Drama: Where Gods and Demons Come to Play (review)." Asian Theatre Journal 19, no. 2 (2002): 378–82. http://dx.doi.org/10.1353/atj.2002.0039.

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7

Worthen, W. B. "Shakespeare and Postmodern Production: An Introduction." Theatre Survey 39, no. 1 (May 1998): 1–5. http://dx.doi.org/10.1017/s0040557400002982.

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This issue of Theatre Survey explores the condition of postmodern Shakespeare production, and by implication the situation of classic drama on the horizon of the contemporary stage. Working on this issue has been, for both of its coeditors, a surprising experience. Theatre Survey is a distinguished journal in the field of theatre history and historiography, and with this issue we intended to press the journal's agenda toward the history and theory of contemporary culture, generating a series of articles on radical, revisionist, and alternative ways of putting “the ‘classics’ into play.” Because we understand this enterprise—from the Kathakali King Lear to Robert Wilson's When We Dead Awaken to Heiner Müller's Medeamaterial to Baz Luhrmann's William Shakespeare's Romeo + Juliet—to stand in a strategic relation to modernity, we were calling the issue “Performance: Modern and Postmodern.”
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8

BHARUCHA, RUSTOM. "For Phillip: Remembering a Friend." Theatre Research International 45, no. 3 (October 2020): 358–61. http://dx.doi.org/10.1017/s0307883320000401.

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It is going to take some time for me to fully accept that Phillip Zarrilli is no more. Phillip, as I knew him as a friend, continues to live in my mind's eye with memories of ceaseless conversations, exchanges of letters and interactions in different parts of the world. Just three months before his death on 28 April 2020, we had met in Kerala, his second home, in the town of Kunnamkulam, where we had watched a high-voltage, virtuoso performance of the Kathakali play Duryodhanavadham (The Killing of Duryodhana) by the Kerala Kalamandalam troupe, which we thoroughly relished. I have rarely seen Phillip more relaxed and happy as I remember him in Kunnamkulam. While he was, in all probability, aware that this was going to be his last trip to Kerala, he was making the most of it, reminding us that he had come full circle by returning to the state which had nurtured his initiation into the martial arts tradition of kalarippayyattu.
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9

"Kathakali dance-drama: where gods and demons come to play." Choice Reviews Online 38, no. 01 (September 1, 2000): 38–0195. http://dx.doi.org/10.5860/choice.38-0195.

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Books on the topic "Kathakali plays"

1

Pilaar, Agatha Jane. Kathakali plays in English: Librettosin English verse for twelve Kathakali plays. (Kottayam, Kerala?): A.J. Pilaar, 1993.

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2

Nāṇupiḷḷa, Panniśśēril. Śr̲ī Panniśśēriyuṭe āṭṭakathakaḷ: Sāracandrikā vyākhyānasahitaṃ. [Trivandrum]: Pannisseri Srinivasa Kurup, 1996.

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3

Tampurān, Kōṭṭayattu. Kōṭṭayattutampurānt̲e Nivātakavacakālakēyavadhaṃ: Āṭṭakkatha. Tiruvanantapuraṃ: Ōr̲iyant̲al R̲isarcc Inst̲it̲t̲yūṭṭ ānḍ Mānuskr̲ipt̲s Laibrar̲i, Kēraḷasarvvakalāśāla, 1986.

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4

Appukkuṭṭanpiḷḷa, Cavar̲a. Kathakaḷiyile manōdharmmaṅṅaḷ. Tiruvanantapuraṃ: Kēraḷa Bhāṣā Inst̲t̲it̲t̲yūṭṭȧ, 1996.

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5

Kēśavan, Kalāmaṇḍalaṃ. Rustavuṃ Sor̲ābuṃ: Āṭṭakkatha. [Cochin?]: Kalāmaṇḍalaṃ Kēśavan, 1985.

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6

Tampurān, Ār Vi Kuññukkuṭṭan. Āḷukaḷ, araṅṅukaḷ. Thrippunithura, [Kerala]: R.V. Kunjikuttan Thampuran, 2001.

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7

Zarrilli, Philli. Kathakali Dance-Drama. London: Taylor & Francis Inc, 2004.

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8

Kathakali Dance-Drama. London: Taylor & Francis Group Plc, 2004.

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9

Ke, Nāyar Eṃ Ke. Kathakaḷi. Kōṭṭayaṃ: Ḍi. Si. Buks, 1990.

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10

Menon, Kalpalli Pulapra Sankunni. Kathakaḷiyāṭṭapr̲akāraṃ. 2nd ed. Cer̲uturutti, Kerala: Kēraḷa Kalāmaṇdhalaṃ, 1989.

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Book chapters on the topic "Kathakali plays"

1

"part ii plays from the traditional repertory." In Kathakali Dance-Drama, 115–90. Routledge, 2003. http://dx.doi.org/10.4324/9780203197660-6.

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"part iii contested narratives: new plays, discourses and contexts." In Kathakali Dance-Drama, 191–221. Routledge, 2003. http://dx.doi.org/10.4324/9780203197660-7.

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3

Richman, Paula. "Ravana Center Stage." In Performing the Ramayana Tradition, 97–122. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197552506.003.0007.

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Most dominant texts in the Ramayana tradition center on Rama as hero and Ravana as villain, but this chapter analyzes two innovative theatrical productions that have sympathetically represented Ravana’s life from his point of view. The oldest, a Kathakali work first staged in 1780, Rāvaṇodbhavam [Origins of Ravana], explores how Ravana’s determination to end his mother’s sorrow earned him rulership over the three worlds. The other, a Tamil mythological drama from the mid-1950s, Laṅkēswaraṉ [King of Lanka], concerns Ravana’s attempts to protect his daughter and begins in heaven, where he dwells after Rama slays him. Both plays illuminate phases of Ravana’s life absent from most devotional texts that glorify Rama; they were composed and first performed at a time of rupture in local political configurations, and point to other ideals of kingship than Rama’s reign.
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