The classical theatre of Kerala rests on the solid foundation laid down in Vyangyavyakhya (VV) As I had mentioned before Kulasekhara had made two innovations in the performance of those days – retrospection and suggestive acting. Retrospection: The direction given by the texts at the entry of every character is “tatah pravishati”, which means enter...
The writer, who edited the work Vyangyavyakhya, explains the circumstances that led to the scholar from Prameswaramangalam reaching Mahodayapuram at the invitation of the king, and how he began to write the acting manual by watching the drama enacted by the king
The writer, who edited the work Vyangyavyakhya explains the concept of Dhvani and how theatre art forms in Kerala deviated from NatyaShastra by allowing the actor to transgress the text through a transformation of roles and by creating his own text.
Madhava Chakyar might have been a world renowned performer, but he maintained an austere lifestyle through the years in his home town at Irinjalakuda, visiting the temple early in the morning religiously, clad in just a mundu. But such was his devotion to Koodiyattam that he would discourage disciples from learning or even watching other art forms
On the 13th death anniversary of Koodiyattam exponent Padmabhushan Guru Ammannur Madhava Chakyar, Ammannur Chachu Chakyar Smaraka Gurukulam, Irinjalakuda, Thrissur conducted the annual gurusmarana Koodiyattam festival. Writer and Koodiyattam aficionado K.V Ramanathan remembered the Koodiyattam guru through an interactive discussion with his daughter and journalist Renu Ramanath.