Nātyakalpadrumam

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Nātyakalpadrumam
Hardbound
)
Pages240pps

Nātyakalpadrumam (നാട്യകല്‍‌പദ്രുമം in

Kerala Sahitya Academy Award in the year 1975.[4] A Hindi translation has been published by the Sangeet Natak Akademi, New Delhi.[5]

Contents

Natyakalpadruma- theatrical study written by Mani Madhava Chakiar the great Guru of Koodiyattam the traditional Sanskrit theatre, is divided into eight chapters. The cover photo shows the famous Pakarnnaatta-Abhinaya (male character enacting female character) of the maestro in Koodiyattam. Preface of the book is written by renowned scholar Shri Kunjunni Raja.

Navarasa
photos of the maestro along with many of his rare Koodiyattam photos.

Introduction

The author begins his work with an introduction and a few benedictory and introductory versus written in Sanskrit language. Here he salutes Gods, Goddesses and his great Gurus like Panditaratnam Pannisseri Sankaran Nampoothiripad and

Jyotisha
. Then again he prays for the blessings of sage Bharatha the propagator of Nātya on the earth.

In the last stanza he compares his work to the

Kalpadruma
- the heavenly tree which gives everything requested. Nātyakalpadruma also gives all details about Nātya that is Koodiyattam and so the name of the work Nātyakalpadruma is meaningful in all senses.

Chapters

The eight chapters included in this work are

  • Samjnāprakarana
  • Paribhāshāprakarana
  • Mudra-Taalaprakarana
  • Swaraprakarana
  • Rasaprakarana
  • Abhyasaprakarana
  • Drishtāntaprakarana
  • Vaisheshikaprakarana.

The first chapter Samjnaprakarana gives the names of costumes and other materials used in Koodiyattam. A detailed description of different names etc. used in Koodiyattam for different steps, actions etc. are also given in this chapter.

Satwikābhinaya- Guru Maani Madhava Chakkiyar as Ravana (kathi vesham) in Kutiyattam

The second chapter Paribhashapakarana gives the names and descriptions of different types of narration, enacting, characters, their languages, characteristic features etc. This chapter also narrates different types of

costumes
and different types of abhinaya are also given here.

The third chapter Mudra-Taalaprakarana gives elaborate narration of

Rāgas
) and different contexts is the next point discussed in this chapter.

The fourth chapter, Swaraprakarana deals with different Swaras (Ragas) used in Koodiyattam they are 20 in number which are called Muddan, Shreekantthi, Thondu, Aarthan, Indalam, Muralindalam, Veladhuli, Danam, Veeratarkan, Tarkan, Korakkurunji, Paurali, Poraneeru, Dukkhagandharam, Chetipanchamam, Bhinnapanchamam, Shreekamaram, Kaishiki, Ghattanthari and Anthari. Details of their usage in abhinaya according to Rasas, Characters, Contexts etc. are also narrated with suitable examples.

The fifth chapter which is called Rasaprakarana deals with Satwika-Abhinaya (Satwikābhinaya)- the most important one among the four types of Abhinayas. Topics such as Nātya, Nritya, Nritta, Rasa, Bhava, Vibhava, Anubhāva, Satwikabhāva, Vyabhicharibhāva, their enacting, movements of eyes for different Rasas and Bhavas etc. are also discussed here . Some examples of Rasābhinaya (Rasa-Abhinaya) are also given. Thus this chapter gives a clear picture of the theory and practice regarding Rasābhinaya. The minute details of Netrābhinaya- enacting with eyes, eyes only are given here by the greatest master of Netrābhinaya.

Māni Mādhava Chākyār

The sixth chapter Abhyāsaprakarana deals with practical training in Koodiyattam. Here the author gives twenty one types of eye movement which are to be practiced by a Koodiyattam artist who specialises in Rasābhinaya. These are very important for Koodiyattam artist as well as artists from other classical art forms. Special duties of

Nambiars (drummers who play Mizhavu
) are also narrated here in detail .

Drishtāntaprakarana the seventh chapter contains examples of different types of abhinaya, narrations of different types of stories and conversations etc. used in Koodiyattams. Peculiarities of languages to be used in different contexts by different characters are also given here.

The last chapter Vaisheshikaprakarana gives

Hindu temple
which are the real stages of this traditional, classical art form. Some special rights of traditional families of artists are also given. Details of special performance in some traditional Hindu temples in Kerala are also discussed in this chapter.

Thus the work as a whole contains all details regarding the traditional classical temple art. One can see the footsteps of the great scholar, great artist and great Achārya (teacher or Guru) who lived on the stage for about 80 golden years, in this commendable work. His skill in all aspects of Koodiyattam especially the unparalleled Netrābhinaya are world-famous.

Translation

This monumental work has been published in

Chakyar Koothu- Koodiyattam artist and son of Guru Māni Mādhava Chākyār, PK Govindan Nambiar- and edited by Dr. Prem Lata Sharma
. [7] [8]

See also

Notes

  1. OCLC 44811805
    .
  2. ^ "Spectrum". The Sunday Tribune.
  3. ^ Natyakalpadrumam http://www.antiqbook.com/boox/bbn/99816.shtml Archived 2007-03-30 at the Wayback Machine
  4. ^ see section Miscellaneous "Kerala Sahithya Academy Awards". Archived from the original on 3 February 2007. Retrieved 19 January 2007.
  5. ^ "Books and films". Sangeet Natak Akademi, New Delhi.
  6. ^ Kunjunni Raja
  7. OCLC 44811805
    .
  8. ^ "Natyakalpadruma (Hindi)". University of Washington.[permanent dead link]

External links

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