|
Home > Kerala Villages > Malabar > The Malabar Drama The Malabar DramaLike all the Malabar institutions our drama is of the primitive type. It assumes various forms of which Krishnattom and Ramanattom are the principal ones. The latter is usually called Kadhakali and constitutes our drama proper. I will now take these in order and explain their divers aspect. But in tracing the genesis of our drama it is important to notice that it has originated from causes that have helped to produce the same amongst other nations and in other literatures. Just as the “Mysteries” or Miracle Plays which expound in living embodiments of human characters the sacred incidents of the Bible, and after them what are known as the Moralities have been the germ out of which the subsequent dramatic literature of Europe has developed. Our drama has similarly arisen from our desire to exhibit in living shapes the holy stories of our Puranas of which the central figures are Rama and Krishna, both incarnations of Vishu. This will be noticed from the following accounts of it, collected from the living traditions current amongst us. Krishnattam- Its origin is lost in antiquity. There are traditions current which ascribe that origin to one of the old Zamorins of Calicut. One pious devotee of Sri Krishna by name Villuvamangalath Swamiar took his residence close by Krishna in his famous temple at Guruvayur in the suburbs of Chowghaut offering prayers and leadings a most religious and saintly life. The Zamorins of those days were reigning princes and the temple at Guruvayur was therefore within their territorial jurisdiction. One of these sovereigns in those by gone days started on a pilgrimage to this temple. After some days of stay in the place the king being himself a pious man besought the Swamiar to find him an opportunity of personally witnessing the divine figure. The request was granted and the king was asked to be present one night at a particular spot in the temple, where Krishna was accustomed to be engaged in his boyish pastimes. The king appeared there at the appointed hour and saw the god in all the fresh splendor of his puerile divinity. And being fondly enamored of the boy-god he could not restrain himself and there he ran up to him and caught him by the head. Krishna thereupon hurriedly disappeared and in the confusion of the moment the king was able to pluck a single peacock-father from his head- dress and dramatising the Puranic incidents connected with him. The king was himself a man of profound scholarship in Sanskrit and of splendid poetical talents. He thereafter betook himself to the task of composing in Sanskrit a drama in commemoration of the deeds and life of Krishna. The scheme was matured in a few years and the drama was completed the life-history of Krishna being the main thread on which the narrative was constructed. Such is the origin of Krishnattom, which occupies a conspicuous place in the dramatic literature of our country. This drama unlike the other one is of a peculiar kind. The characters who appear on the stage indulge in no significant gesture language. The movements of the hands made by the actors are not suggestive of any special meaning. The full drama is sufficient for eight day’s acting, beginning with the birth of Krishna and ending with his lamented death. On the ninth day, the birth scene is again enacted the reason being the instinctive popular aversion for leaving the god in his last moments. Only places of sanctity and purity are fit for the performance. The descriptions of the various elements that constitute the other kind of drama will mostly fit in with Krisnattam also except that in the later the duration for the acting is theoretically a little over three hours commencing about 10 and closing at about 1 or 1-30, in the evening. It is not be performed anywhere and every where but only in certain particularized places sanctioned by the Zamorin. The charge for a day’s performance exclusive of the feeding of the actors &c , is 64 fanams equivalent to Rs 18-4-7. The other kind of drama is what is called Kadhakali, formerly known as Ramanattam. This celebrates the deeds and history of Rama another of Vishnu’s incarnations. It apparently possesses a secular origin; but one grounded upon the desire to celebrate the story of Rama. The origin is related thus. On one occasion the Raja of Kottayam send an embassy to the Zamorin requesting him to send over his Krishnattam drama to his place at Kottayam. The request was indignantly refused and the Kottayam Raja being himself a Sanskrit and poet composed the first four pieces in succession such as Kalyanasougandikam , Beka Vadham, Kalakeya Vadham and Krimeera Vadham which form practically the nucleus about which has gathered the subsequent dramatic literature of our country. Later on other writers followed suit and in the space of a few years the number of dramas swelled to fifty-six. Even now the process of dramatic development in our land is not complete. Each subsequent writer gifted with poetical talents contributes his mite; and at the present day the total number cannot be far behind seventy. The actors all generally go about from house to house and arrange for the performance. A particular house is first selected and at about 5-30 or so in the evening what is called the Keli kayyu begins, with the systematic but mingled beat of drums Elathalam and Chengala. This is to herald aloud the intended performance of the drama on that particular night. About 6 pm the actors begin to paint their faces. About 8 or 8.30 the lamp is lighted. Only one lamp is used on the occasion. Then what is known as Thodayam commences. This consist of songs and initiation of little boys into the mysteries of stage performance with drum beating &c all carried on inside the curtain. Next the Vandana slogam viz, some song in praise of some god is sung. After this follows the Purapad the appearance of the first character. The most important one appears first usually attended with great stir and confusion occasioned by the load and bold beatings of drums and extra torch light held in hand on both sides of the actor by two others. But this character appears not at the beginning always but only at his appointed place in the play. The interval between the Purapad and the regular appearance of characters is filled up with Melapadam ie ,song, drum beating & et, but with out any curtain being hung. Immediately after this begins the regular appearance of the characters of the play. Such characters may be divided into Pacha, Kathi, Thadi, Kari, Minukkau Veshom, Veesa Ezhuthu and the female characters. Thereare like wise some others also such as those with white spots on the actor,s face already painted red, and the painting of a clown which is, at best, a curious mixture of every incongruous and absurd element of painting. I will now proceed to give a descriptive account of these various types of characters of our dramas 1. Pacha.(Green painting) - The face is painted over with manola. The edges of the eyelids and also the eyebrows are likewise painted with black soot mixed with oil or ghee. Then a small coating of chutti is maid with a mixture of chunam and rice-flour along the chin and the check-bones. The chief characters who appear in Pacha are the five members of the Pandava sect, Indra, Nalan, the famous king, Pushkara his antagonist, Krishan, also the King of the Virada country, and Rama, Lakshmana and a few others. 2. Kathi – First the face is painted green with manola and in the middle a red painting of a peculiar twist and twin called a Kathi is maid. Outside this and along the borders comes a painting of black .Then again outside this manola is painted along symmetrically with the black painting. Next what is called a chotti which is a thick coating with an uneven, wavelike surface maid of a combination of chunam and rice flour, is drawn along. Both these kinds of characters were crowns maid of stones, glass, beetle-shells, silverknobs, blanket, and gilded metal leaf all arranged in set and orderly forms and called Kesabharam kireedam. The principal characters of this type are Ravana, the famous Rakshasa king, Keechakan, Narakasuran, Krimeeran, and a few others. 3. Thali – This assumes three distinct varieties such as red, white and black, according as the beard put on is maid of materials of one or the other of these colors. The red is named Chukanna Thali. The crown put on is called Kuttichamaram and is maid of the materials mentioned before. But in this case, the frame is maid of wood with red hangings of thread on the borders. The face is painted with a red coating. Then a black line with a curl and turn is drawn. Then small flower-shaped substances maid of the Kedesu plant or cork are stuck on the tip of the nose and another on the forehead which is permanently attached to the long piece of cloth tide round the head along the forehead. In the face of some characters the number of knobs in the forehead is three. A red beard of artificial construction also worn. A red coat is worn on the person. The chief characters of this description are Bali, Sugreevan and Angadan who are monkeys, Kalakeyan, Jarasandhan, Narakasuran, the major, and few others, with slight deviations from the established methods of face- painting and adorning. Amongst Rakshasans all reigning kings may have Kathi and all others , Thadi The white one is called Vellathadi. In this case also first comes the red painting on the face. Then on it one of black soot mixed with some oily substance. A long white artificial beard is worn, as also a chotti as before described. A white coat with white hangings all over is worn on the person. A knob in the middle of the forehead and the tip of the nose is also pit on. Hanuman, Vividen nandikesaran all belong to this type of characters. Then inferior monkeys are of various forms with different monkey faces. The Black one is styled the Karuthathadi. A black painting is given to the face and also a red one. Then a chotti as described before is maid along the chin and cheek bones also flower shaped substances maid of cork materials are stuck thereon. But thereon. But there are some without this item. A black artificial beard is worn together with a black head- dress. The coat worn is made of black tinted cloth but without the hanging as in the case of the red and white Thadis. In the case of al Thadis, the eyes are painted black. Kattalan, Kali and Neelan are the chief if this variety. 4. Kari- The face is colored with a black plaint and on each of the two cheeks a crescent-shaped drawing is inscribed . On the forehead is put a mark made of white manola and red paint. The edges of the eyelids and also the eyebrows are painted white with white manola and Chotti is also drawn.A black dress,black coat and long breasts and two large prominent artificial dog-teeth are put on.This is common to all Thadis likewise.The dress down the waist is a folded one with black cloth ;and small branches of trees or plants held in hand together complete the habiliment of this type of characters. 5. Minikku Veshams,have a head-dress tapering upwards and ending in a bunch or knob.The face is smeared over with white manola paint.The eyes and eyebrows are painted black.A long magnificent white beard is worn.A piece of printed cloth is also put on round the waist.There is no coat used,but there are brummagem jewellery used.Brahmins and all Rishis belong to this class. 6. Veesa Ezhuthu.—The face is painted with white manola and the eyes,and eyebrows and beard are also coated with a black paint.In this case the beard is only drawn with a paint and no artificial beard is utilized.All carpenters and Madolghadan are of this type. 7. Female characters differ in different dramas ; but all of them appear in female dress. The dress from down the waist is the same for all Theppu Veshams,viz..,trousers and printed cloths.Long silver nails are worn on the fingers by all except female characters. A singular variety in our dramatic performances consists in what is styled a Nanam.In some plays there are incidents dramatized which relate to some most inhuman and unchivalrous acts such as chopping off the breasts and nose of females, committed by persons of position and influence.In such cases the plays merely make mention of such cruel deeds ; and ordinarily they are represented on the stage only in theory and the whole things is allowed to pass off smoothly. But on particular occasions, if people are so minded, they arrange for this Nanam in which the actor representing the poor, victimized woman is dressed up in a nose and breasts such as could easily be chopped off ;so that the actual deed is in practice represented on the stage. This is done in the following manner. A large quantity of rice-flour and turmeric powder are mixed and boiled and completely reddened with the addition of chunnam.This is mixed up with the flowers of the areca-branch. Then a long chain is made of tender coconut-leaves so as to resemble the human intestines and is enveloped in a piece of cloth. Then a pair of human breasts is made of the bark or film of the areca-branch and is attached to the chest of the actor. On this the said artificial chain is left hanging. An artificial nose is then made of the same substance and is placed on the nose of the actor, and on this, pieces of rags are also suspended. The leaf chain, and breasts and nose are all dipped in the red liquid mixture and are given an appearance of blood-smearing. These are worn on the person of the actor who smeared all over with the red mixture. Thus he is given an air such as would indicate the actual and physical commission of some terrific process of mutilation on his person. The actor appears on the stage from the front side with big torch-lights on both sides held in hand by two men, and supported by two others who help him from imminent prostration on the ground. The whole scene is an extremely interesting one; though its terror-striking appearance would seem, for a time, to mar the mirth and solemnity of the occasion. The scene closes and additional presents are given to this actor for all his troubles, at the close of the performance. The Malabar drama is an itinerant institution carried on by a number of persons. The lamps used on the occasions are constructed purely after native fashion out of bell-metal materials. It is filled with oil and a number of big torches made of old torn cotton cloths tightly rolled up and dipped in oil are lighted and placed in it thus giving increased light. This is to be furnished by those who get the acting done. The curtain is usually some large and thick piece of cloth or pieces stitched together into one large cloth, inscribed with the figures of some animals or gods or the like. On two ends of this cloth two small but heavy balls of cloth are left hanging. These are held on the stage by two men at the commencement of the drama as well as on the appearance of every character. Another square curtain with hangings on the borders is suspended horizontally from over the heads of the actors on the appearance of every important character. Sometimes conch-shells are blown in order to increase the solemnity of the occasion. The seats used on the stage by the actors consist of the mortars turned upside down; and forest scenes are represented by big branches of trees stuck on the ground near the stage. The stage is not, as in European dramas, as raised platform or dais ; but the bare ground in front of the spectators cleared and wetted with water or dug up and beaten down so as to prevent dust from flying about to the nuisance of the spectators. The latter seat themselves on the ground and on mats they themselves bring with them; and sometimes chairs and other seats are supplied by the house owner, but not generally. The main instruments of the drama are drums of two kinds; one beaten with the fingers on the hands and called a Muddulam and the other beaten with drum-sticks and called a Chenda. The former are of two kinds; the large one and the small one. Chengala is another of these instruments. It is a small thick circular instruments. It is a small thick circular instrutment with one surface slightly bulging out and made of bell-metal,to which a small cord is attached through two holes drilled near the circumference.This is held on the thumb of the left hand by the cord tied together;and the convex surface is struck in a certain rhythmic order with a small stick held in the right hand.There is also another instrument called an Elathalam which contains of two small thick circular pieces of bell-metal instruments each with a protrusion in the middle to each of which is attached a small strong cord through a hole bored in that middle portion.Each of these is held by the cord in each of the hands and the two are forcefully struck against each other in a certain well-defined order.These instruments and the drums are so beaten as to produce a ringing rhythmic sound fitting in with the music of the singers.A senior singer called Ponnani and a junior one called a Sankidi do all the singing business. There are invariably five boxes of deal-wood set apart for 1. Uduthukettupetti, for keeping all the dress from the waist downwards. The drums and c. are all tied up into one big bundle. The last number of persons required for a performance is 30 including 12 sectors 4 singers both junior and 4 senor drummers of the two kinds of drums, two chottikkars or men whose function is to paint the chotti described before, and 6 box-carries, 1 washer man and a Brahmin to serve as a cook. There are also some weapons and instruments in requisition; such as a wooden instrument called a Chakram, sworeds, clubs, bows and arrows also a plough in some cases, a conch-shell, a curtain, an Alavattam or a kind of circular instrument with peacock feathers stuck on the circumference and some other common embellishments on a frame, with a wooden handle. Different varieties of faces are also to be in store to exhibit different kinds of faces. In some plays what is called a Poli is institute by those at whose expense about midnight or so the performance is suspended for a while and the poli begins: which consists in sums if money subscribed by the invited section of the spectators.This money goes to those who get the play acted on the particular night.On such occasions some one of the actors dresses himself in a clown’s attire,makes his appearance on the stage and intensely amuses the audience with his jokes and funs.He receives a present of a few annas,usually four and goes his own way.On rare occasions when some specialist actor displays his special skill in the performance, some of the spectators make extra presents to him in the shape of money or grand clothes and for still more extraordinary display of dramatic skill what we know of as a Veera-srinkala,a golden bracelet of a chain-shaped pattern with a fastening in one place and having a few rupees’ weight.The usual charge for a day’s performance is Rs.10,and meals for the day for all engaged in the drama.The cost of the materials of a drama is about Rs.400.The plays are generally acted inside a temporary small square shed made with four poles stuck on the ground at equal distance on which small bamboo beams are arranged.The roof is covered with thatchings made of coconut-leaves.The four sides are left open. Our drama is altogether a dumb-show in which the actors never utter a word but do everything by sings and gestures.All the music is done by the singers.The actors come on the stage silently and indulge in significant gestures corresponding to the subject-matter of the part sung.There are altogether sixty-four of these gestures to express human ideas;and any deficiency is made up by combinations of these sixty-four gestures.In some parts of the play the gestures are to be accompanied with significant facial distortions which require great skill and cleverness.Changes of thought and feeling such as anger,sorrow,joy in the minds of persons represented by particular actors should be exhibited by the latter so every naturally and unaffectedly as to be considered actual changes taking place in the minds of such persons whom the actors represent.Herein consists most of the skill and expertness of the actors.The high caste people of Malabar have from their cradle been taught to believe in the sacred genuineness of the Puranic incidents;and those who act the part of those old worthies of our Puranas are held in great admiration and respect by these zealots.It is agreecably pleasant to observe certain zealous admires of these dumb-shows gazing in rapturous admiration at the skill and cleverness of some specialist actor who has acquired renown in the dramatic art.They would fain forego every worldly blessing for the enjoyment of its aesthetic pleasures. Our dumb-show,from our national standpoint,embraces almost all that would please the human senses.The fond musician with his special gifts of musical talents can cheerfully enjoy the pleasures of our native airs with their “Many a winding bout The rough drummer can delightfully revel in the pauses and rhythm of drum-beating.The expert in gesture language sees in the gestures of the specialist actor that inherent element of pleasure and of detect and his special mind to enjoy.He can inwardly perceive and feel the close natural resemblance between the feigned exhibition of the diverse feelings on the stage by such actor and the actual birth of impulses in the breast of him whom he represents in the play.The untutored boor,who thought unable to understand and appreciate the significance of the acting and enjoy the pleasures attending it,is nevertheless stirred up into energy on the appearance of some ferocious characters whose loud cries and the stentorian depth of voice are heard at great distances and distinct from the deafening beat of drums,music and other accompaniments of the drama.But all the same our drama requires to be purged of those obscence elements which,by popular suffrage and the sanction of ages,are still retained in the form of kissing and embracing by the characters on the public stage where figure amongst the spectators the modest forms of the fair sex. And we fervently hope that this defect which is perceivable only when looked at through the glasses of modern refinement will soon be remedied and removed and the old and interesting institution preserved in a new, refined and purified form.
|
| |
