Kabuki and Kathakali -Lost siblings? Part 3
Helen Xavier
JLPT N2 - Japanese Interpreter and Translator .Automotive| Presently - Educator and Japan education and Work Guide | Japanese Interviews Preparation and Effective Resume Reviews. Aspiring Ghostwriter
Structure of dramatics and style of acting in Kabuki and Kathakali.
The Kabuki artistes always aim at producing realistic representations by modifying their predecessor’s methods, models and styles.
They, therefore transform simplest gesture into dancing and these gestures are invariably accompanied by music.
There is a predominance of abstraction .
Mie, a technique used in Kabuki at the end of a classical play or at climaxes, is a formalized action.
Actor assuming a Mie pose
The actors assume a picture like postures and stare or assume a cross eyed look.
Kabuki relies on spectacular and pictorial beauty.
The extravagance of costumes and colors are instantly attractive .
Bright and vivid effects also attract people by rousing curiosity and awe.
Music brings the stage to life, with superb sound effects and tones.
The artiste performs his dialogue and takes a cue from the musicians for the next act.
Sound effects like striking of the hyoushigi(拍子木ーひょうしぎ） as well the taiko（太鼓ーたいこ） drums, the ki and tsure clappers brings enjoyment and energy into the artistes and the audience.
The idea of kathakali is to uphold the loyalty of the ancient Hindu traditions.
The terms like Nrita and natya symbolize its deep leanings to the Hindu traditions of the yore.
The prominence of role of bharata attributed to the perfection in expressing the elements of dance and drama in an excellent manner.
Some unique aspects of Kathakali is that Shringara -Love is abundant, but vulgarity(gramyatva)is absolutely absent.
Kathakali is also classified as Tandava where masculine vigor is highlighted.
Elements of costumes and makeup in Kabuki and Kathakali.
Kabuki costume is quite complicated, considering its design and wear ability.
Weight is up to 50-60 pounds with layers of kimono.
The actors who wear the kimono are assisted by stage assistants in maintaining the flawless beauty, even during performance on stage.
The stage assistant is always eyes for the perfect presentation of the actors.
There are split second change of garments where the stage assistant removes the upper garment or the entire top garment to revel a different garment worn underneath.
Kabuki costume- bright and complicated
The term hikinuku（引き抜くーひきぬく） is used to describe sudden costume changes.
The stage assistant has to be alert and quick and have good manual dexterity to help with costume changes in a jiffy.
The sleeves of the kimono are squarish and supported by a steel rib.
At the end of the scene, the stage assistants remove the steel ribs enabling the actor to move freely.
Further, the stage assistant is careful about fatigue factor in the actors and helps alleviate it by serving water, coffee, on stage and during performance.
He wipes away the sweat from the actor’s face.
As for the colors used in Kabuki, the brilliant and gaudy shades of red, blue and green are preferred.
Generally, the historical plays of Kabuki, the katarimono used a splash of vivid colors, the sewamono dramatizations use mellow and subdued colors.
Kathakali is highly stylized in costuming.
In Kathakali the color is used to convey significance of moods and characteristics.
Natyashastra puts considerable emphasis on facial makeup and color symbolism, called as the aharyabhinaya (extraneous representation).
The prime ambition is to transform the actor into the god or the character he features.
Makeup artiste (Choutikkaran) plays a defining role during training and performance.
Make up artist(Choutikkaran)assisting in dresing up an artist
He is highly skilled and has mastery over the colours and how to make them.
To represent a noble character, green or paccha(green) colour is used, the makeup artist applies light green paste from the jawbones to the cheeks and gives a lotus shaped space around the eyes.
The foreheads of actors are painted as per the characters they represent.
Papier maché frame is stuck along the jawbones to accentuate the face and the jawbones.
Chutti or the white paint rice paste and lime.
The place where the white paint ends is fixed with the false chin and jawbones.
Chutti attached to an actors face
Big black mustache drawn from upper lip to the cheek bones represent raudara (ferocious) characters.
Characters with red patches on green make up are folks who cannot be distinguished as villains.
Upturned moustache represents raudara and kathi types.
Kathakali costumes are vibrant and colorful and sync with the characters.
The costumes are heavy and hence worn by seasoned actors only.
These garments are made by special craftsmen who are specially trained and skilled in kathakali costume making.
The male character don huge sized skirt suspended on a starched cloth and complete their ensemble with wooden jacket, wooden ornaments and specially designed wooden head dress called kirikidam.
Before wearing this Kirikidam, the actor covers his head with black scarves and washes himself from the headdress to feet as a way of purifying himself and invoking God’s blessing.
Acting Elements of Kabuki and Kathakali
Kabuki elevates the stature of the actors to prominent levels.
The Kabuki playwrights write plays depending upon the abilities of the actors.
Thus, the best of skills of the actors are highlighted.
Conversely the actors also modify the plays as per their suitability.
Dancing and music form the major part of training.
Every Kabuki actor is identified by the house to which he belongs.
The Kabuki actors are known for, respected for and rewarded in acknowledgement of their expertise by being elected to Academy of arts, which is recognized as a highest honour for an actor.
The Kabuki stage assistant also performs other invisible acts like laying small stool for actors to sit during long scenes.
Ensure free movements of the actor by removing things which interfere.
His acts are unobtrusive.
Another man, dressed in black gowns appears, when required the left corner of the stage, He is called the kyougenkata(狂言方-きょうげんかた）. He performs complicated rhythmic accompaniments with the ki and hyoushigi(拍子木ーひょうしぎ） and his performance is called the tsukeuchi（附け打ち-つけうち）
The tsuke uchi （附け打ち-つけうち） is primarily an attention grabber, it is used to draw attention to the sudden appearance and exits of the actors, movements of actors on hanamichi, in ballet like fighting scenes called tachimawari(立ち回り-たちまわり）.
Kathakali requires the training of the body for a flawless poise and performance, so the muscular and skeletal parts of the body are trained and made flexible by constant practice of the Yoga and the martial arts.
Of all the muscles, the facial muscles take precedence and hence the new comers are made to train these muscles intensely.
Note the actors eye movements
The artiste positions himself in the shape of a rectangle or square with feet set apart, soles touching the ground and knees pointing out.
This is called as Mandalasthana.
The dancers move in the square or rectangle by moving his hands and arms along their shape or their diagonals.
The knees are kept pointing outward and this is done by having a distance of 1-3 feet between the feet.
Such techniques are for Jumps, swirls and sweeps.
Square pose adopted by the actor
Hastas- eye-hand coordination when dancing
The mastery of facial movements which include movements of, eyeballs, eyebrows and lower eyelid is of paramount importance in Kathakali.
Hastas or hand and eye movements, along with body movements are used as communications tools.
Finally...
I had done as deep a research to get symmetric comparisons so that differences stand out. Nevertheless, in most ways such comparisons were not found. Therefore , most of the description of Part 3 are comparisons based on unique approaches of each of the dance type.
There is much which can be written , But I let go of that temptation, as I chose to present facts which are easily understood by the pictures.
Helen Christina Xavier
I started out as an interpreter and translator. But presently writing about primarily Japan, its culture and people.I was also a clinical psychologist before entering into Japanese language sphere. Ever since a student, I was curious about culture, history and etymology of kanjis. But humbly, I am finding each how vast and rich Japanese culture and history is. I plan to write about everything Japanese and finally start living in Japan and write more correct articles.
Presently reading a lot by seasoned travel writers to carve my own eclectic style , easy to understand and remember!!
References
Pictures
https://www.nippon.com/en/features/jg00095/
https://twitter.com/kamlesm/status/1238562271439314944 https://www.kathakali.net/training
https://disco.teak.fi/asia/kathakali-keralas-grandiose-dance-drama/
Content
https://www.kathakali.net/training
https://disco.teak.fi/asia/kathakali-keralas-grandiose-dance-drama/
https://www.dailypioneer.com/2017/vivacity/dance-as-confluence.html#
https://www.glopad.org/jparc/?q=en/kabukidance/props/sensu
https://www.nugoojapan.com/blogs/news/the-history-of-tenugui