Theatre group to cut short Yakshagana shows

Subject :History

Section: Art and Culture

DIFFERENT FORMS OF TRADITIONAL THEATRE

BhandPather

It is the traditional theatre form of Kashmir, is a unique combination of dance, music and acting.
Satire, wit and parody are preferred for inducing laughter.
In this theatre form, music is provided with surnai, nagaara and dhol.
Since the actors of BhandPather are mainly from the farming community, the impact of their way of living, ideals and sensitivity is discernible.

Swang

Originally the theatre form Swang, was mainly music-based. Gradually, prose too, played its role in the
The softness of emotions, accomplishment of rasa alongwith the development of character can be seen in this theatre form.
The two important styles of Swang are from Rohtak and Haathras. In the style belonging to Rohtak, the language used is Haryanvi (Bangru) and in Haathras, it is Brajbhasha.

Nautanki

It is usually associated with Uttar Pradesh. The most popular centres of this traditional theatre form are Kanpur, Lucknow and Haathras.
The meters used in the verses are: Doha, Chaubola, Chhappai, Behar-e-tabeel. There was a time when only men acted in Nautanki but nowadays, women have also started taking part in the performances.
Among those remembered with reverence is Gulab Bai of Kanpu She gave a new dimension to this old theatre form.

Raasleela

It is based exclusively on Lord Krishna legends; it is believed that Nand Das wrote the initial plays based on the life of Krishna.
In this theatre form the dialogues in prose combined beautifully with songs and scenes from Krishna’s pranks.

Bhavai

It is the traditional theatre form of Gujarat. The centers of this form are Kutch and Kathiawar.
The instruments used in Bhavai are: bhungal, tabla, flute, pakhaawaj, rabaab, sarangi, manjeera, etc.
In Bhavai, there is a rare synthesis of devotional and romantic sentiments.

Jatra

Fairs in honour of gods, or religious rituals and ceremonies have within their framework musical plays are known as Jatra.
This form was born and nurtured in Bengal.
Krishna Jatra became popular due to Chaitanya’s influence.
Later, however, worldly love stories too, found a place in Jatra. The earlier form of Jatra has been musical. Dialogues were added at later stage.
The actors themselves describe the change of scene, the place of action, etc.

Maach

It is the traditional theatre form of Madhya Pradesh. The term Maach is used for the stage itself as also for the play.
In this theatre form songs are given prominence in between the dialogues. The term for dialogue in this form is bol and rhyme in narration is termed vanag. The tunes of this theatre form are known as rangat.

Bhaona

It is a presentation of the Ankia Naat of Assam.
In Bhaonacultural glimpses of Assam, Bengal Orissa, Mathura and Brindavan can be seen.
The Sutradhaar, or narrator begins the story, first in Sanskrit and then in either Brajboli or Assamese.

Tamaasha

It is a traditional folk theatre form of Maharashtra. It has evolved from the folk forms such as Gondhal, Jagran and Kirtan.
Unlike other theatre forms, in Tamaasha the female actress is the chief exponent of dance movements in the play.
She is known as Murki. Classical music, footwork at lightning-speed, and vivid gestures make it possible to portray all the emotions through dance.

Dashavatar

It is the most developed theatre form of the Konkan and Goa regions.
The performers personify the ten incarnations of Lord Vishnu-the god of preservation and creativity.
The ten incarnations are Matsya (fish), Kurma (tortoise), Varaha (boar), Narsimha (lion-man), Vaman (dwarf), Parashuram, Rama, Krishna (or Balram), Buddha and Kalki.
Apart from stylized make-up, the Dashavatar performers wear masks of wood and papier mache.

Krishnattam,

Folktheatre of Kerala, came into existence in the middle of 17th century A.D. under the patronage of King Manavada of Calicu
Krishnattam is a cycle of eight plays performed for eight consecutive days. The plays are Avataram, Kaliamandana, Rasa krida, kamasavadha, Swayamvaram, Bana Yudham, VividaVadham, and Swargarohana.
The episodes are based on the theme of Lord Krishna – his birth, childhood pranks and various deeds depicting victory of good over evil.

Mudiyettu,

Traditionalfolk theatre form of Kerala is celebrated in the month of Vrischikam (November-December).
It is usually performed only in the Kali temples of Kerala, as an oblation to the Goddess.
It depicts the triumph of goddess Bhadrakali over the asura Darika. The seven characters in Mudiyettu-Shiva, Narada, Darika, Danavendra, Bhadrakali, Kooli and Koimbidar (Nandikeshvara) are all heavily made-up.
Mudiyettu was inscribed in the UNESCO’s Representative List of Intangible Cultural Heritage of Humanity after Koodiyattam

Koodiyaattam,

One of the oldest traditional theatre forms of Kerala, is based on Sanskrit theatre
The characters of this theatre form are: Chakyaaror actor, Naambiyaar, the instrumentalists and Naangyaar, those taking on women’s roles.
The Sutradhar or narrator and the Vidushak or jesters are the protagonists. It is the Vidushak alone who delivers the dialogues.
Emphasis on hand gestures and eye movements makes this dance and theatre form unique.
Koodiyaattam was inscribed in the UNESCO’s Representative List of Intangible Cultural Heritage of Humanity.
Traditionaltheatre form of Karnataka, is based on mythological stories and Puranas. The most popular episodes are from the Mahabharata i.e. Draupadi swayamvar, Subhadra vivah, Abhimanyu vadh, Karna-Arjun yuddh and from Ramayanae. Raajyaabhishek, Lav-kushYuddh, Baali-Sugreevayuddha and Panchavati.

Therukoothu

The most popular form of folk drama of Tamil Nadu, literally means “streetplay”.
It is mostly performed at the time of annual temple festivals of Mariamman (Rain goddess) to achieve rich harvest.
At the core of the extensive repertoire of Therukoothu there is a cycle of eight plays based on the life of Draupadi.
Kattiakaran, the Sutradhara of the Therukoothu performance, gives the gist of the play to the audience and Komali entertains the audience with his buffoonery.