Traditional Theatre Performances: Kathakali And Chinese Opera

Traditional theatre performances are an integral part of culture and society however, it is spoken as a form of a “dying art” in today’s society. It is unfortunate for such traditional theatre performances like Kathakali and Chinese Opera which are theatrical spectacle to be placed under such circumstances. Kathakali is a stylised classical indian dance-drama that originated from Keralam, a state in South India. Along with the dance-drama, it is also known for the attractive make-up of characters, that involves elaborate costumes, detailed gestures and well-defined body movements presented together with the musicians mostly percussionists and singers. The themes portrayed in Kathakali are usually religious in nature. Chinese Opera is a form

The individual art form have evolved over the years as culture emerges from the process of adaptation and adjustment to change. Traditional theatre forms such as Kathakali and Chinese Opera taps on many great conventions, some of which are immediately comprehensible to an audience who does not frequent and understand the language of the traditional theatre performances, while other conventions do require prior knowledge for comprehension. In a Chinese Opera, movements portraying an action such as ascending or descending the stairs, mounting on a horse, opening and closing of doors, being in conditions of darkness, rain, wind, cold and heat, movement over rough terrain and sewing requires no prior knowledge of the spectator to understand what the actor is trying to convey with the actions. However, other movement conventions such as walking around in large circles helps to convey that the actor is actually travelling over a huge area of distance. Apart from these actions, for the Chinese Opera, the young female character will need to act and speak in a clear piercing falsetto. With the combination of the various conventions, the vocal and physical stylisation of every character conveyed with the Confucian values which than result in behaviour figures traditionally known as appropriate by the society for the individual roles portrayed. This may not be familiarised to a contemporary audience

Kathakali is unique on it’s own and it isn’t like the different types of dance such as the contemporary Bharata natyam, neither is it like the courtly dance like Kathak nor the Manipuri which is rather lyrical throughout. The first impression of Kathakali is through the dance style that carries an overwhelming dramatic quality that the gods and heros, demons and spirits appear from a different world in the various head-gears and costumes which are stunning. The characters do not exist in the real world of human beings, however they belong to the world of myth and legend. The kathakali of today has been preserved down to the basic objective of arousing the state of being. Besides being a theatrical spectacle and the basic objective, Kathakali is used to educate the masses by entertaining and informing them about the stories of the gods, the moral qualities, the advantages of virtue as well as certain philosophies through theatre. Although Kathakali of today have evolved, keeping as closely to the roots with the objective and stories in mind, the people of today’s society have a different interests. “Oh, no, I am not interested in Kathakali at all. Most people my age are not interest at all. We had rather go to films or watch television.” says Mohan, a young Malayalis staying in Kerala of South India.