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Koodiyattom
The Koodiyattam which emerged by the ninth century
was a full-fledged dramatic presentation in Sanskrit, the repertoire including
plays by Bhasa, Harsha, Mahendra Pallava and Sanskrit plays by Kerala writers
like Saktibhadra and Kulasekhara. The Vidushaka, the comic character, was the only one character who
spoke in Malayalam and if he mixed Malayalam and Sanskrit with a deliberately
comical intention the practice may still have played a genetic role in the rise
of Mani-Pravalam, the language blend in which a substantial quantity of fine
poetry was written in the early phases. Another feature associated with
Vidushaka left an equally valuable legacy. The Vidushaka was an ironic foil to
the hero. For every stanza in Sanskrit recited by the hero praising his
lady-love or expressing his romantic longing, the Vidushaka recited another in
mocking parody. The most important characteristic of
Koodiyattom is its elaborate interpretation of the Sanskrit slokas or stanzas
through hand gestures by the various characters and by oral expositions of the
Vidushaka.
For the common people, a parallel tradition of sacred recital to Koodiyattam
emerged known as Pathakam. The champus was written in Malayalam instead of
in Sanskrit by Punam in the fifteenth century and others in every succeeding
century. Similar recital emerged as a third level known as Pana-Thottam Humour
was invariably present and dominated in all the three categories. But the other
aesthetic flavours were in no way neglected. There are passages in Punam which
cannot be read without the eyes brimming over. The recited was by one person, he
could play many dramatic roles and the form broadly corresponded to the Sanskrit
Bhana which had only a single actor. This tradition was finally culminate in the
Thullal. The Koodiyattam could not meet the heavy competition from other more
popular forms.
Koodiyattom is a temple art performed traditionally by a specific community.
It belongs to the genre of drama. Koodiyattom is probably the only surviving
form of the traditional presentation of Sanskrit drama. Koodiyattom
embraces elements of music and dance. The performance is confined to the
temple theatres known as Koothambalams, the performing artists belong to
specific temple dependant communities known as Chakkiars and Nambiars. The
Chakkiars are the actors and the Nangiars of the Nambiar community undertake
female roles to the accompaniment of the Mizhavus (pot-like drums covered with
animal hide) and Edakka (a small drum played with a stick), Kurumkuzhal (a small
wind instrument similar to a Shehnai) and Kuzhithalam (a small pair of cymbals).
The Koodiyattom as it is presented today was choreographed some ten centuries
ago by King Kulasekhara Varman with the assistance of his friend Tholan. The
form of presentation is highly stylised in Aharya Abhinaya (make-up, costume and
scenic spectacle), Angika Abhinaya (gesture) and Vachika Abhinaya (oral
rendering). The attempt is to present Puranic characters in a superhuman form,
in an epic setting.
The performers use make-up similar to Kathakali but are permitted speech,
albeit in a stylised manner. The make-up is symbolic of the nature of the
character presented on the stage. At the same time, there is no typifying of
characters as in Kathakali.
Koodiyattom plays are not presented in full. Presentation is so elaborate,
nowadays these plays are presented only in parts - each part being known by a
different name. Each performance is confined itself to one Anka (one act). Since
one Anka of the drama alone is performed at one time, there is a prelude to this
performance called 'Nirvahana' during which one of the characters sums up the
story presented in the earlier acts of the drama and possibly the earlier
stories. This 'Nirvahana' takes many days and if this 'Nirvahana' is rendered by
the Vidushaka, it is an oral exposition. Other characters use hand gestures for
this purpose.
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