CHAPTER - IV

THEATRE I N R I T U A L

4.0 INTRODUCTION

The vast majority of the rttual arts of Kerala are

resplendent with all the elements of Theatre. Ritual arts like
Theyyam, Padayani, Kakkarasi, Koodiyattom, Kathakali etc. are
artistic embodiment!; of efficacy and entertainment bearing the
true culture of theatre. In the performative level most of them
appear to move towards pure theatre while sustaining the basic
ritual qualities. The conceptual frame work of these ritual arts
exposesthe widely acclaimed fact that they are basically rooted
in theatre elements in the varied aspects like the concepts
behind the formation of the performer, treatment of the
audience, and the stress given to the spectacular elements. Two
of the popular rit.ua1 arts are taken for special study to
compare these aspects in them with the theatres of Artaud and
Grotowski and with the modern Malayalam Theatre of the period
selected.

4.1.0 Theyyam..

Theyyam is a form of worship performed by the people of

Northern Kerala. It consists of a special combination of symbols,
rituals and art forms, particularly dance. In this spectacular
art form,the ghosts,,good and evil spirits in the manifestation

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 of subhuman, animate and inanimate beings, ancestor-spirits of
legendary figures of great valour, extraordinary powers and
, r
endowments, and Gods. and Goddesses like '~iva;'~akti,vishnu'
appear and are honoured. This is done by dressing up in the
intended form ('~olan;) and performing artistically according to
prescribed rites and rituals, developed through folk traditions
with the accompaniments of vocal and instrumental music.
Divisions of Theyyam can be possible. based on folk and
traditions. Theyyam like 'pottan', 'gulikan', 'chamundi',
'Kurathi' etc. manifest folk origins while Theyyams like
'Vishumurthi' 'Daivathar', 'Makkoppothi' etc. show the Sanskrit
tradition. From the classification of Theyyams we can conclude
that most of them are of totemic origins. Durkheim is of the
view that totemism is the most primitive form of worship. (1954;
47). Primitive peoples' worship of supernatural forces for
better life and prosperity led to the worship of corporel forces
later. Totemic cults like tree-worship and animal- worship
originated like this. Theyyams originated as part of the cults
of serpent, animal, ancestor, mothergoddess, spirits and heroes.
(Nambiar, AK, 1988:55).

4.1.1 Thevyam: a conununitv act.

The ritual art of Theyyam is based on the culture, the

religious beliefs and anthropological root of the society from
ancient times. The castes who perform Theyyam in North Malabar
< - 8 , *
'panan','velan, mnnuttan', 'mjuttan, ~avilari,
I

are '~annan,~ala~an',

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 , < I ,

'coppalan: '~heravan,.Paravan, Tiyyamalayar, ~arim~alar'

etc. The
'~avarnas'donot perform Theyyam. Madan Bhapputti whom the
..-
investigator met belonged to 'pulaya' community, who usually
perform 'Pottan Theyyam', 'Vishnumoorthi Theyyam',
'Karichamundi', 'Raktha Chamundi' etc. He has a shrine of
'Pottan Theyyam' adjacent to his house. In the ritual, there is
the participation of the whole community. The blacksmiths bring
firewood used in various rituals. The ornaments, the various
ritual implements, festival-ornaments are made by the goldsmiths,
the efficacy of the ritual being monitored by the village
atmosphere. The low castes referredto.above become the performers
u
The Harijan manual-labqrers bring raw materials to the shrine
used for preparing the temple space. Muslims bring fire-
crackers. Other posts are filled by divine possessions
('Velichappadus'). The high castes become the conductors and the
patrons of the performance.

4.1.2. Ritual
-. enactments in Theyyam.

In most cases rituals become the symbolic actions of a

culture. The expressive level of the symbol becomes the action
part of a ritual. In the first chapter it is already pointed
out that religious ritual is a symbolic effort of a community to
establish relationship with reality which transcends words or
deeds. The rituals of Theyyam differs with the nature of the
myth of the Theyyam. However,the Theyyam rituals in genera1,have

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 a common frame. The p u b l i c Theyyam-perfo annual

feature. , t h e e x a c t d a t e o f t h e c e l e b r a t i o n i s d e t e r m i n e d by t h e

diviner according to lunar calculations. Once the date is

f i n a l i s e d , t h e p r e p a r a t i o n of t h e p l a c e begins.

The i n v e s t i g a . t o r w i t n e s s e d t h e f o l l o w i n g s t a g e s of r i t u a l

enactment in the Theyyam ritual of 'Pottan Theyyam' and

'Kandakarnan'. In the afternoon of the performance, after a

solemn ritual of purificatory bath, the officiating priests

entered the '~ottaim' which is then purified ritually. The

'parikarmi's main job i s t o p r e p a r e t h e toddy-pot. ( 'Kalasam' )

and other o f f e r i n g s s u c h as f r u i t s , coconuts, grams, flowers,

w a t e r e t c . and a l s o a r r a n g e lamps w i t h o i l wick ('deepam). The

commencing ceremony i s l o c a l l y known a s ' t h u d a n g a l ' (beginning)

of
This is t h e 'thottam' r e c i t a l with t h e a~cornpaniments~drum
or

'thudi' ( s m a l l drum). This r e c i t a l i s a l s o known a s 'thudangi

thottam' (thudangi = t o begin + t h o t t u = t o c r e a t e ) . The second

important stage of the ritual i s 'thottam nilkal (nilkal-to

s t a n d ) . The Theyyam-dancer emerged from t h e g r e e n room w i t h h i s

initial make up and a special robe called 'Kacha' and stood

b e f o r e t h e i n s t a l l a t i o n of t h e 'Kottam' and r e c i t e d t h e myth o f

t h e Theyyam-dance of 'pottan'. This i s called 'vellatom'. The

T.heyyams began their makeup after the 'thottam' . When the

Theyyam got ready for the pelrforrnance, there was one more

'thottam' which was sung by t h e Theyyav himself. The fourth

i m p o r t a n t s t a g e i n t h e T.heyyam-performance i s known a s ' V a r a v i l i '

(Vara = b l e s s i n g / b o r n + V i l i = i n v o c a t i o n ) . Each Theyyam c a n b e

distinguished from its ' ~ a r a v i l i ' . After this, the Theyyam

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 started the ciimax of dance. After the first 'Uranjattom', the
Theyyam performed the sacrifice. The sacrifice followed another
'uranjattom' which .is known as 'Kalasamthullal' (end-performance)

Bhapputti whc performed the 'pottan Theyyam', told the

investigator later that he went in to a trance and was
possessed by the spirit. It was in that state of trance that he
made prophetic untterances which the elders were to take note
(U-21)
of& He called out from among the audience, to the dancing yard
one by one in the order of seniority and status and blessed
them. Generally the devotees reciprocated with cash offerings.
The investigator was also called for blessings. The last stage
of Theyvam is known as 'Kottikalasam' The Theyyarn performed a
dance of a vigorous kind with the accompaniments of drums and at
the end removed the crown. This is known as 'mutiazhichil'
(removal of the crown).

4.2.0. Actor-concept in Theyyam.

The concept of the performer in ritual art is different

from the actor in a theatre. Here, the performer is prepared not
to perform the art before an audience, but he performs it out of
the concept of dedication to the diety. He is turned in to a
divine being while in performance. In all consideration, his is
a total act. Proper traditional training is necessary for
effective ritual art which functions basically as a means of
uniting one's true self with the infinite power of nature.

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 4.2.1 Training of the performer in Theyyam.

When asked about the training he got for Theyyam-

performance, Madan Bhapputti narrated the following things to the
investigator. He began his training since the age of eight under
his father. There was no systematic training methods. Many of
the techniques were learned from direct observation, while
accompanying his father from seven to eight months during
festival season. After learning in this way he was sent to a
village to study with a famous teacher. There the training was
vigorous. The session began with jumps, remniscent of Kathakali,
to jump high enough to position the legs out infront of the body
and touch the forehead with toes. Such types of different body
movements were practj-sed. Then he was taught the special yell
peculiar to make his arms and hands vibrate, and various dance-
sequences. The names of important shrines where the diety was
worshipped, the special language to address temple officials and

important village members during the ritual etc. were taught.

This special language made him a type of authority during
performance.

He told the investigator that strict discipline cvritha']

is to be observed by t.he Theyyam-performer. One to fourteen days
of 'vritha' is to be observed. He would take only vegitarian
food and keep celibacy. Liquor is taken by certain Theyyams,
tells Bhapputti. This would make mind and body fully prepared
for t.he performance. All types of ' Anustanas' are incorporated
into Theyyams (Nampoothiri, Vishnu 1977: 2 6 ) - fhe rituals of

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 'vritha', 'Manthra', 'Thanthra' and 'Karma'. The Theyyam-
performer should always have the nMantrik upasana'. Bhapputti is
>
a'manthravadi. When undergoing 'vritha' and painting the face,
taking the costumes, he has to murmur the mantras.

4.2.2. '~bhina~a'
in Theyyam and 'Natyasastra'

All the four aspects of acting said in Natyasastra,

= .
'~ngika,~adhika','~har~a'and'Satvika' are incorporated in to the

enaction of Theyyam. This is supported by A.K.Nambiar (1979-26).

Tie character is imposed on 'the actor' in theatre, while 'God'
is imposed on the performer in Theyyam. In this respect, he
points outf;hd$heyvam is a theatre. The 'thauryathrika' (keethai,
'~rith~am'
andCvadyad) is included in the whole performance of
Thevvam. As the actors take the role of unwordly characters in
the body painting and costumes, they try to bring in some divine
aspects. The heavy and high head -gear, artificial eyes, claws,
'Chilampu' and masks make the act.or different. The intonation
and dialogue are also extraordinary by their peculiar
stylisation.Artaudls theory that the actor should be different,
he is like a magician by his craft and appearance is
anticipated in this ancient ritual.

4.2.3. Transformation and transportation,

When asked about the transformation and transportation of
the performer, the informant told the investigator the following
detailst. After the make-up the performer looks into Valkannadi.
There occurs the meeting of God by the performer and here

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 onwards his transformation takes place. The masks and highly
sensuous and decorative costume lift the performer into an
extra-ordianry realm of unworldliness. But all the while., this
transformation occurs, he is aware of the role he is to perform.
But he is not aware that he is aware. The 'flow' in the actor is
there, during performance the mind is aware of the surroundings
and action. When asked about the transportation, he replied that
this happens only.after the head-gear is removed. Then he feels
that he has returned to his original self. But to regain
completely that feeling, it would take three or four hours.

4.2.4 Belief of the performer

When asked about their belief in the divine, Bapputti and
his son Gopalan had diverse opinions. The father said that
during performance, the power of the diety came to him from
recitation of special sacred syllables or mantras (He himself is
a 'Mantravadi'). This gave him power to perform the necessary
ritual, dance and speak to the audience. But the son in his own
characteristic way of modernity t.old the investigator that he
sees Thevvam as a performing art: having nothing to do with
religious conviction. He believes himself to be a good performer
and his ability came from his own training and stamina. Here
also we have to acknowledge the changing nature of Thevyam from
ritual to theatre.

4.2.5 Some moments of drama in Theyyams

The dramatic elements of performance in Thevvam which

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 take them nearer to theatre are noticed. In the very
presentation of dialogues by the 'Kolakkaran' in certain
Thevvams like 'Pottan Theyyam', the loud laughter, the
conversation like 'the deaf' etc. are theatrical. Also in
'Paniyan Theyyam', the stylised way in which '~aniyan'is taught
the alphabet is highly a dramatic entertainment. In 'Vishnu
Moorthy Theyyam', the myth 'Iliranyavadam' is taking place as a
high drama. In 'Bali Theyyam' the dramatic quality achieves a
further dimension. 'The scenes how Bali bends Ravana by his tail,
the dissuading scene of Bali by Thara at the eve of going to
fight with Sugreeva, the dialogue between Bali and Rama, the
acrobatic scene of the .monkeys etc. provide theatre in essence.
Here ritual goes to theatre and returns.

In the 'Makkopothi Theyyarn' theatre is in full flourish.

The affection shown by 'Makkopathi' towards her children, giving
water to them, the labour pain enacted etc. are full of dramatic
sequences- The 'Ramayana Theyyam" which is enacted in the famous
Andalloor 'Kavu' near Thalasseri is full of drama. All the
important characters '~ama'( 'Daivathar' ) , '~akshmana'('~ngakarai)
< 7 c ? < ,
~ a ~ ~ u r a (Hanuman),
n' '~eetha,Leva, Kusa etc. are enacted as
Theyyams. The dramatic scenes like .the search of 'sitar, the
loneliness of '~ama;the journey to 'lank; etc. are enacted. The
performer's histrionic talent is put in to full test. He appears
to be a good actor,inspite of his divine self,by using the whole
body for the enactment.

4.2.6. Status reversal of the actor in Theyyam.

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 Some rituals show ritual inversion. 'l'he liminal nature of
the ritual inversion is a mechanism invented by every culture,
particularly the pre-literate cultures for resolving the
contradiction in a society. (Turner, 1977:167). The performer
crosses over the cultural boundaries and uses the ritual to
criticise the society to ensure conformity of the individuals to
the social norms. The field data show the very same cultural
mechanism. This happens in Theyyam-rituals of all the castes in
varying degrees. The lower the caste in hierarchy, the more
intense the status reversal appears to be. The 'Pottan Theyyam'

abuses, reviles and even physically mal-treat the highest

authority with unusual aggressive temper. It is here the status
reversal happens to Theyyam. He calls out the land lords to kneel
and lie down in the dust. His language becomes very cutting,
bordering on obscenity, r i u ~ playing the role of comedian, now
that of divine person, he continues to amuse the crowd.

In the theory cjf performance liminality has two meanings

(1) in the sense of manifesting what is hidden, making
transparent the opaque surface of social life. (ii) As all norms
of day-today life is relaxed, it is a licence during which
anything can take place. In Thevvams both these aspects are seen.
In trance the Theyyam-performer speaks out the frustration and
resentment of the community. The social norms are relaxed in
which the whole celebration is givenanairof enchantment. This is
what happens in 'Pottan Theyyam' performance. In any performance,
the playful nature is integral to liminal stage. In 'Pottan
Theyyam' there is the mixture of playfulness and seriousness. The

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 'pottan' speaks out nonsensical things, which would make the
devotees laugh, at the same time what he says will be taken
seriously. His jokes are cutting and penetrating social
criticisms, his scaring the people is playful . Even at the
serious moments of playing with fire, he tries to make people
laugh. In the status inversion role, he is enacting the
collective wish of the people he represents, which is the plural
reflexibility .
4.2.7. Theyyam: a theatre of cruelty.

The ritual art form of Theyyam demands from the performer

a total sacrifice on his part. This sacrificial aspects of the
actor in the theatres of Artaud and Grotowski are analysed in
chapter 111. lnspite of the st.renuous 'Vrithanustanas' before
performance, and hard endurance during long performance with the
heavy head-gears some times, the performer is expected to sustain
the physical strength through out. In some ' Theyyam-
performances, the performer inflicts self-injury on his body. He
injures his head, sometimes blood oozing out, jumps in to the
fire, pierces knife through his mouth, dips hands in the boiling
oil. This expression of masochism can be traced back to
premordial tribal rituals. Certain T_heyyams like '~antakkarnan'
fix the burning torches on its body, enduring the terrible heat
- like 'Pottan' and 'Ottakkolam' would walk on
throughout. Theyyams
fire.

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 In a Theyyam
- called 'Umrr~attikuliyan' there is a fierce
ritual which is rem.inding of human sacrifice in 'Kali pooja'. In
this Theyyam, the .last ritual is 'uchabali', symbolic of human
sacrifice. Here, the arm and the leg of the performer would be
tied tightly, and these parts would be pierced with an iron
needle and the blood would burst out. This blood-bath is carried
out at noon time. With the quick loss of blood, the performer may
become unconscious during the performance. At this stage, he
would be carried away like a deadbody, with a new cloth-covering.
This is enacted like a human sacrifice. The performer here rises
up to the concept oE the actor in Artaud and Grotowski. The basis
of this is the total sacrifice of the actor in a ritual theatre.

4.3.0 Audience in Theyyam.

The discussions of Artaud's and ~rotowski2Theatres in

Chapter I11 revealed that they were centred arond building a new
relationship between the actor and the audience. This is the
fundamental concept in all ritual theatre. There might not have
been the division between the actor and the audience in tribal
dances. The spirit prevails even now in all ritual performances.
The bond of enactment might have been taken upon by the low
castes by a historical necessity. Inspite of this, the people
who come to witne~~s
this ritual art are participants and not
spectators. According to the status one enjoys in the social
world, one is spatially posit.ioned during performance. The
Brahmins occupy a space further away from the shrine, Nayars
(being next to the hierarchy) occupy a raised platform covered
by a tile- roof closer to the complex. "~annan'and '~ala~an'

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 performers, socially lower than 'the Thiyyas' occupy the space
at the back of the compound.

4.3.1 Environmental Theatre of Theyyam and Audience

Involvement

The performance - space of Theyyam is in sacred groves or

in open fields. Here the actor and spectator share the
experiences under the vast expanse of the sky in the lap of
nature. The performance may take place under a tree, on a
rock, in a wide open field,, a temporary thatched hut
constructed only Eor the period. There is the swinging
experiences of the spectator. Schechner points out that in the
environmental theatre, people get involved with the actor who
is an amateur transformed into C;od (1973 : 108).

Human beings are understood as integral parts of nature

in Theyyam. This is seen in the importance given to the trees
and animals in the concept of Theyyam. In Theyyam-celebration,
tree-symbolism plays an important role. The 'pipal' tree is
associated with fairies, 'Gulikan' with 'Chempakam', nimb tree
with 'Kali' etc. Informants said that Theyyam was originally
celebrated under the pipal tree or banian tree, and later on it
was celebrated in sacred groves. 'Pottan' and 'Gulikan' are
decorated almost totally with coc:onut-palms. In many Theyyams,
the facial decorations are either in the form of a leaf, flower
or fruit of venerated trees. 'Kanjiram' is a prominent tree in
most of the Pulaya 'Kottams'. It represents
the folkgod 'Kalisan'. The 'mudi ' of Theyyam is

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 usually patterned after the shapes of a fruit or a leaf. The
heart shape of a 'pipal'-tree-leaf is a common pattern. Some of
the Theyyam-danccs for y . 'Culiknn' begins clnncc by i~nying
respect to the tree 'chempakam'. T h e 'pottan - Theyyam' ju m ~ s
into,as a ritual, the glowing charcoal hea made out of the
special wood of particular trees such or 'Chempakam'.
In some Theyyams, spirits are tkie sy~~tbol
of
animals. Eg . Tiger -Theyyams ( ~ u l the animal-

further. In 'Pottan Theyyam', of a buffalo,

In the 'Muthappan Theyyam', the patterned
after the horn of a
r
~uthappan'. Goat and
'Pulimaranja
is according
This points

audience.

4.3.2. Catharqis in Theyyam.

The identification of the spectator

the theatre of Theyyam is almost complete. T e spectator forgets
that he is only a
participant. The Theyyam-ritual is usually
spectator, he

sleepless night. In all the mystic tradition, loss of sleep is an

I
feel
ith the performer in

himself

brganised
I
to be
to spend a
a

important point for getting in touch with one's inner energy.

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 Loss of sleep in rhythmic performance such 7s drumming, dancing
and
process
singing
of
investigator participated
Theyyam
appeared
or
that
relaxes the performers who
getting

Mudiyettu
a
-,
intouch
in the
with

the same experienc

the
ritual

participatory- trance was experienced by

Its
slowly go through a
unconscious.
of
When
Padavani
was undergone. It
the

the
,

entire crowd by the rhythmic dance, the div'ne features of the

painted face of the dieties, the
personifications of the qualities of gods,
of birds and anima1.s etc. The symbolism of the painted design,
4
elabor te headgears, the
he ritual offerings

the colours, the musical accompaniments, the chant, the drum and
'thudi', the rhythmic jumping and running, all go in for a

hypnotic effect in t.he crowd. The:y also to erupt in frenzy

of rhythmic fervour, the whole sounds, movements
colour, leave a lasting effect This is the
experience of catharsis 1111 (N-22):

4.3.3. Mvths in Theyyam and audience. 1

houses
All Thevvams are structured upon myth
of archetypal images representinq
i which are treasure-
experience of
past life. There are two types of mythsC higher and lower
I
incorporated in to Theyyam. The myths in E ics and the Vedas are
lp
called higher myths but local stories about heroes and heroines
form the lower myths.
'Vishnumoorthi', 'Ramayana Theyyam',
Egs. of higher mbths
'Potta '
are
etc.
that
and
of
lower
!

myths 'Muchilott Bhagavathi', 'Huthappan' e/c. Some times the

higher myths may influence lower myths, chabging it completly.

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 (Eg. The Theyyam '~vermakkal). The function f the myth is to
awaken a feeling of shared experience . the audience.
Underlying the myth of ' Paniyan-'Theyyam' tht e is the fear of
death. A beautiful myth of untouchability s incorporated in
Pottan Theyyam. According to Kavalam,
"Myths and rituals being the tradi .onal links enrich
our art forms... . Only by diving eep in to ancient
myths and rituals and establishin! a blood - relation
with them, we can creat.e new myths snd rituals, there
by interpret life and get ex& rience, practical
knowledge and craft" (1988:19).

4.4.0 Costumes.

Costume has different functions in the tre-activities. It

plays an indispensable role in consummat: g a ritual art.
Natyasastra also stresses the externt representation,
'aharyabhinaya as one of the four pr lcipal types of
representation or interpretation through wh: h dance and drama
succeed in conveying to the audience, the aF ropriate aesthetic
experiences, Bharatha calls it'nepathyabhinaj ; It consists of
four kinds of costumes and make up (i) li ing objects, (ii)
models (iii) Painting of the body (iv) decorat on of the body.

4.4.1 Theyyam-Costume.

In the very colour display Theyyam-cosl me creates a mystic

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 as well as symbolic meaning. They do the function of
identification,dignity, symbolic meaning, magic potency, caste
feelings etc. During the ritua1,the costume manipulated by the

-
artistes will provide a moving, dynamic and three dimensional
sensation to the audience. . In the transformation, the Theyyams
are treated as Gods or Goddesses and the officiating priest would
do all the poojas (offerings) to them as to the dieties. Thus the
costume does the function of transforming the characters to a
ritual level. For eg . 'Muchilott Bhagavati' or 'Pottan-Theyyam'
are realistic charac'ters of the social order with a progressive
behaviour against the upper hierarchy. By the observance of their
costume and make-up, they were elevated or merged to devotional

and ritual heights.Thi.5 is the foundation of Theyyam philosophy in

its costume and make-up.

4.4.2 Materials used, in Theyyam-decorat.ion.

The decoration of Theyyam is done only above the person's

waist. Below the waist the Tkyyam is left without much
decoration except covering the part with starched cloth for
elegant round shape. The material:; used for costume are easily
and directly available from nature. Tender coconut leaves, rice
powder ('arichattu') for the white colour, charcoal ('Kari') for
the black colour, turmeric for the yellow colour, are the basic
items. Different combinations of these basic colours are also
used. For eg. in hottan-h hey yam: coconut leaves are used in place
of clothe and other exposed part of the body is painted with rice

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 powder and turmeric. All colours embody theirown meaning and
concepts. The materials generally used for the construction of
head-dresses are arecnut, light soft-wood planks of 'murik'.
Flowers, coloured clothes and coconut-leaves are the general
items for Theyyam make-up.

In the performance of Theyyam, the use of ornaments and

flowers is an important element. Most of the ornaments are made
from coconut leaves and soft wood 'murik'. Enlarged necklace and
ears are made of soft wood with golden paper coating. It is to be
pointed out here that the ornamerlts used in Theyyam-performance
became a common property for other performing arts in Kerala.
This influence is due to the acculturisation and social
hierarchical domination over Theyyams. The head dress is the soul

- -
of Theyyam. The m a m s of Vaishnavaorig-in, which must have been
the last to be integrated in the Theyyam- dance such as
'Vishnumoorthi', 'Daivathars' 'palott - Theyyams' used
n
sophosticated crowns as their head dress. The crowning ceremony
('Mudiyettu') is done on the step (nada) infront of the
installation of the main diety in the 'Kottam' or sacred grove
('Kavu'). It is done in the solemn atmosphere of singing and
n(
drumnlng and dancing. After the 'Mudiyettu' the Theyyam becomes
the diety.

4.4.3 Significance of weapons in Theyyam.

- have varied meanings. They

The weapons used in Theyyarns

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 are so important that in the grove, the weapons are installed
to represent different dieties especially those of the Theyyams
of the category of heroes. Bapputti told the researcher that
in Theyvams of great heroic dimensions, weapons are more
important than food itself. Almost all dieties use various
kinds of weapons. The devotees consider them as symbols of
protection and security, hence the importance of weapons in
Theyyam-cult. Some of the best known weapons are bow and
arrow, sword and shield and other local weapons such as
'Chedakarn', 'Pallival', '~aduthila', 'Churika', 'Kathi' etc.
Women-Theyyams generally use sword, shield and knife.

4.4.5 'Mukhathezhuthu'

This is the pictorial representation of the face of

different particular Theyyams. The researcher is told by the
informants that writings on the face symbolically evoke feeling
of awe, wonder, devotion and reverence. Through the
'Mukhathezhuthu' the devotee gets a particular meaning and
message. The writings are mostly borrowed fromfeatures of
animals, shapes of flowers and leaves. The names of
facial writing reveal the nature and shape of design.
For eg. 'nathum kannu' refers to the shape of the eye
of a kind of bird similar to owl. 'Sankum peedavum' (means
conch and the stool) 'narikurichenezhuthu' means the

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 writing after the design of the panther, often the myths of the
nevyams arereferrcdtosvmbolically through the facial writings.

4.4.6 General functions of masks

A mask is a distinguishing feature of primitive

celebration. It must have been the archetype of modern facial
writing. They have been used as means of social control
because of their awe-inspiring nature. They have also been
used for religious experience as a powerful medium or mediating
to the people the overpowering reality of the sacred. world.
Masks are also used as a means of transformation. In the most
general sense a mask is a disguise which covers the wearer and
thereby conceals or transforms his identity (Moore, 1977 : 55).
Masks are sometimes used for social entertainment and
baffoonery such as scaring people for fun or clowning in
totemic religious rites.

4.4.7 Types of masks and their functions

i) Richard Schechner deals with various types of masks

and their function in the theatre. There are three types of
masks (1982 : 70), the mask that completely covers the face as
i n t h e chau'mask or the Balinese topeng mask or the Korean Mask
or Indian -chau: Here, during performance the body including
the head is moved as a unit, by tilting the head. Since the
mask doesn't change, it allows the audience-imagination to work and
really paint and play with that mask. The mask is seen beautiful
but blank, and invites the audience to paly. The second type is

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 as seen in .Xal&.&gcac or .Uthakali'. Here the face is painted
so heavily that the actor has also a transformation. The painted
face allows for more naturalistic acting, the 'bhava' can show
through,allowing the expression and improvisation (iii) the third
is the facial mask or the body-mask (as Grotowski visualised in
his poor theatre). The body-mask .is an attempt in a way to make
the face like a solid mask. Here like a wood carver,the actor
can do whatever he wants. Each of these three masks has a way of
changing the face into a semiotic system or a system of poses.

To a question by Ayyappa Panikkar regarding what happens

when the body is fully masked as in Theyyam, Schechner replied
that in Theyyarn a full transformation into a non-human being is
intended by the comp.Lete mask. "The transformation in Theyyarn
with its fabulous hallow brings the whole environment with it.
The body-mask does the transformation of the total human being.
The body-mask then allows the spectator and the performer to
concentrate like a puppet on apparently simple manifestation each
of which can experience." (Schechner, June 1982 : 70).

Vishnu Nampoothiri points out that the 'Kolakkaran' gets

more freedom when using the masks (1976 : 43). They can use even
vulgar language. There is a saying 'Like the paniyan who wears
the arecanut sheath'. They, also., are symbols of many ideas.
Some Theyyams like 'Kundarachamundi.', 'Madechamundi', use masks
intermittently in performance, to represent the different

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 re-incarnations of ' ~ a l'iand Vishnu. He also points out that the
use of masks in Theyyam influenced the later classic arts like
Cankakkali, Kummatti, Krishnanattom
- and even Cathakali.

The evaluation of the ma.sks in Theyyam. is done here

because, they have an important influence in the modern Malayalam
Theatre which is to be studied later.

4.4.8 Properties used in Theyyam; Yavanika, lamps

-. and-peedom.

Some of the theatrical objects which found their way int-

Malayalam Theatre later were used as ritual objects in Thevvam*
Just before the conmencement of the singing, the performer
receives a large banana leaf from the officiating priest. The
leaf contains five liyhted wicks, an arecanut, five betel leaves,
turmeric powder and a small amount of uncooked rice. The priest
passes the lighted wicks over the idol of Tgevyam to transmit
power. The lighted wicks transfer this power of the deity from
the idol inside the shrine to the performer- Bapputti told the
investigator that the five lighted wicks represent the five
elements- air, fire, space, water and earth. These elements are
'sakti' in a form t.hat people can see and concentrate on.
'Peedom' is mainly used by -
the Theyyams at the end of the
performance, when they hear the complaints of the local people
and try to solve them. The use of 'Xavanika' is there in certain
Theyyams likec~annikkorumakaL.

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 4.4.9 Lighting System

Traditional lighting objects like fire- wicks the an dams)

and 'olachoottu', made of small bundles of dried coconut leaves
etc. are used. This moving lights give a metaphysical
atmosphere to the whole performance.

4.4.10 Musical Instruments

Many kinds of' musical instruments are used in Thevvam

performance. Drums, cymbals, conch, 'udukku', 'kuzhal',
'perumbara', cherrnangalam and 'thudi', 'ilathalam' etc. are the
most popular instruments.

4.5.0 Modernisation of Theyyam

Raghava Payyanadu points out (1978:48) that the role of

Theyyarn in ancient days was that of the saviour as well as the
teacher. Its make-belief charm has been lost because of the
scientific and economic re-setting of society. The society
which paid oblation and offering to Theyyam for rain or
prosperity in ancient days has been changed now. This open
endedness allowed it to become a more colourful spectacle than
a ritual performance. Consequently, new technical and
theatrical innovations have occurred in Theyyam.

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 The influence of theatre is scen in Theyyam make-up too.
Theyyam make-up artrstes told the investigator that there were
times when they were not allowed to use colours other than
those made from materials available from nature. Now they use
synthetic colours which are readily available in the market.
Formerly, the materials for Theyyam make-up were throw-away
types, now they try to make them durable. For eg. the
headgears which have been made by soft wood and glitter paper
now have been replaced by metal and paints. The masks of
'Pottan' and 'Gulikan' made of arecanut sheaths have been
replaced by durable materials.

Among the new generation of Theyyam artistes> the

paintaking process for the disciplined drilling of the art of
Thevvam has been vanishing. They lack the single minded
dedication as well as devotiontothe ritual art. Contrary to the
traditional performers who used the ritual performance, a full
time job, the young generation t-akes it only as a part time
occupation, like the actors in the amateur theatre.

The social and political realities of everyday world

have been drawn to it today. It has been taken out of temple
premises, performed during touri!;m weeks, during Republic day
celebrations, for political party functions. Thus the religious
and belief-part have been stripped off, and the stress on the
spectacular show is given. Thle Marxist party and Sastra
Sahitya Parishad make copious use of the Theyyam symbols today.
In an interesting article Ashley narrates the experiences

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 of taking the Theyyam of 'MuchiILott Bhagavathi' .out of its
ritual performance, and performing it within the frame of
Modern Theatre (Ashley, 1982). This was a clear illustration
that ritual arts can move towards theatre.

4.6.0 Mudiyettu

The ritual theatre of -

Mudiyettu' is a typical ritual art
form for the analysis of the complex nature of the performance
traditions of Kerala. In this art-form all the aspects of
theatre-performance, actor - formation, the concept of the
audience, make-up, costume and all other externals of
theatre, are inherent. This ritual is conducted to appease the
Goddess '~ali'residing in the sacred groves, which is usually
associated with festivals in temples. The term 'Mudiyettu' is
derived from the carriage of 'Mudi' (crown) or removing it from
the head by the performer.

4.6.1 Myth in Mudiyettu

The myth associated with this ritual performance is most

popular in Kerala. The story goes on like this. In innumerable
wars between Devas and Asuras, the latter was destroyed almost
totally, and most of the Asura-women became widows. The
prominent among them were 'Darumathi' and 'Danumathi'. After a
torturous and prolonged penance, they could please '~rahma'and
win from him the boons of getting two powerful sons, Darika and
Danavendra. The two children in their turn lost themselves in
severe penance and pleased Brahma. They got

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 from him the 'vara' (boons) that no man in the fourteen wor1.4~
of the universe would be able t.o kill them. However, they
forgot to include women in the periphery of the boon. Shielded
by these boons, they proceeded on a world conquering expedition.
They brought the entire universe under their control and began
to rule over the worlds. No peace loving man could live
comfortably in the world. The great Saint Narada reported the
matter to Lord Siva who promised to take appropriate steps to
annihilate the demon-kings and save the people from their
tyranny and cruelty. Then from Siva's third eye is born the
fierce 'Kali'. She straight away proceeded to kill Darika in
the battle field. The story of the killing of Darika is
enacted in the most dramatic way in Mudiyettu . As G.

Gangadharan Nair says, here "'the myth transformed into

beautiful visual art forms with tlne aid of dramatic situation
that harmoniously blend verisimil.itude and sense of horror."
(1987: 38).

4.6.2 Rituals in 'Mudiyettu'

The dramatic performance is preceeded by detailed ritual
known as 'Kalamezhuthu'. This is the floral drawings using
natural colours such as green (made put of a particular leaf
dried and powdered), white (made of rice powder), black (made
of roasted and powdered paddy husk), yellow (made of turmeric
powder) and red (made out of powdered turmeric, lime, rice
powder). The fierce image of '~ali'isdrawn on the ground using
these colours, 'Kalam' to be erased is the next item when the
drawing is ccmpleted. 'Kalam p j a ' is performed afterwards. The next cermny is

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 'Thiriyuzhichil' which means dancing with holding oil-soaked
burning-wicks held in the hands and weilded by way of worship.
The 'Kalams' are worshipped for uprooting the evil effect of all
bad spirits from their families. After the 'Thiriyuzhichil' the
lit-thalams are put out. Then the 'pattu' begins. Songs in
praise of Ganapathy on the creation of the 'pandaltgo on. Song
on '~hadrakali'describing her from top to toe is sung to the
accompaniment of 'Chenda' and other percu ssion instruments.
After the songs the 'Kalam' is erased with the tender coconut
leaves used for decoration.

4.6.3 Actor-concept in Mudiyettu

The concept of the actor in the ritual theatre of

Mudiyettu. is also relevant in the study of the ritual impact
on Modern Malayalam Theatre. The actor has to undergo a vow
which begins on the previous day of the performance. After
taking bath in the early hours of the morning the actor pays
oblation to the goddess 'Kali'. He has to wear only 'the mattu'
of the 'Veluthedan'. After putting on the costume and the
headgear,he is competely transformed into an unearthly being,
'Kali'. He must not touch others or speak with others either in
the 'Aniyara' or 'green room'. This means that transformation
has already been at work.

4.6.4 Traditions and perogatives 'of the actor.

Upper Hindu Professional camunities known as 'Kurup' and ' W a r ' are
the traditional performers who stage 'Mudiyettu. <~urups'
in the Cochin regions

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 and '~arars'
in the Travancore area perform the art traditionally.
The right to perform Mudiyettu bras conferred on Varanattu Kurup
of Koratty Swaroopam traditionally. '~urup'is a communal title
given even to Marar, Ezhava, 'Asari' , 'Kaniyan' and such other
subcastes, namely Marar Kurup, E:zhava Kurup, Thacha Kurup and
Kanikurup. Kurup is the title conferred upon the caste Hindu Nair,
who had been the masters of martial training and Kalari
practices. Those who perform Mudiyettu now-a-days are Nairs,
Kurups and blarars. They do not allow other communities to get
themselves involved in this theatrical arts since the traditional
rights are exclusively conferred upon them.

There are certain folk traditions and beliefs which have

taken deep roots among '~udiyettu
L performers. One is that, the

role of '~ali'
will be taken by the nephew or brothers of the head
of the family. For eg. Narayanakurup, nephew of 'varanatt; house
of Koratty enacts the role of '~ali.:When the history of 'varanattu'
family was studied it was revealed that the right to enact the
role of Bhadrakali from generation, to generation was according to
matriarchical system. Another belief is that, the washer woman
makes available a white piece of cloth which is called 'mattu'
and it is further purified by Kurup. But Pazhoor Damodhara Marar
the great living exponent of '*iyettuf says (AI-2-3) that such
traditions have been broken because of the onslaught of
modernity. Today, all. types of people who show proficiency, in
the ritual art come forward to perform the ritual. The 'savarnas'
or the high class, people perform 'Mudiyettu because the ritual
art is conducted within the temple premises traditionally.

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 126
4.6.5 Actor training

The actor in Mudiyettu should be well-versed in

'Thauryathrika' (ie. Geetha, Nrithya, Vadya) and also he must
have the intimate knowledge of all the four elements of actions
2 '
i. e. ' ~ n ~ i k a ,vachika', 'Aharya', ?;atvikabhinaya1 which are
inevitable for its performance. Bharata in Natyasastra (1, 12)
stresses the need for the actor to be an all rounder. ' Bhava '
should be combined with emotional gestures. Alons with this,arratiging
the rhythmic movements of the steps is a must for the performer
in Mudivettu .
For this strict and systematic training for the performer
is inevitable. But it must be pointed out here that the
training imparted, is not formal, the pupil takes to it
informally from childhood (A1 2 . 2 ) . I:or learning 'Kalamezhuthu, 3ongs anc
Mudiyettu, at least five years of training is necessary . It is
'Kalamezhuthu' and songs that are taught first. Two years'
training is needed for this. Students in the group of ten to
sixteen years are selected for training, from the castes '~urup'
and'~arars: The training is given in the houses of'Kalari ~sans:

In the dance-form of 'Kuli' (N - 23) it is seen the forms

'Athikrantham', 'Harinaplutham' etc. as described in Natyasastra
(4:79). Among the thirteen acting types as described by Bharata
in Natyasastra, 'Akampitham' and 'Kampitham' are seen in the
challenges and war scenes of 'Kali' anti '~arika: In the 'Koodiyatta'
(combined enactment) scene of '~ali'and Darika there is a

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 prolonged encircling of Kali and Darika called 'Pakirithirichil1-
which is in tune with ' thalavadyas ' . Many forms of 'Kalasams '
(dance sequences) like 'Vattakalasam', 'Edakkalasam', 'Thonkaram',
'Eratty', 'Astakalasam' etc. are taught to the people. Here, it
can be pointed out that all form:; of 'Kalasams' in Kathakali
might have been refined forms taken from MudiyeLu . It is
very obvious from the analysis that how intensly the actor in
'Mudiyettu is prepared before the performance.

4.6.6 Acting Score

'~udiyettu'is a ritual dra.ma.It is a ritual close to the

concept of theatre in many respects. All the three elements of
theatre (?hauryathriki) are incor.porated into it. But the actor
need not show the gestures as in modivattom or Kathakali. The
Angikabhinaya is divided into three 'Irunnattom', 'Pathinjattom'
'Ilakiyattom'. In the 'Ilakiyai:tom8, the actor has all the
freedom of movements, he can whirl or jump. Usually, this
'attom' is used to express the rasas, the fierceness, wonder, or
fear. In Mudiyettu' the character 'Kali', 'Darika' and
'Danavendra' have all these aspects of '~bhina~a'. After the
'Ilakiyatta', there is the scene of 'Ayudhanottam' (looking into
the weapons). It is the scene of sharpening the weapons of ~ali'
and 'Darika'.

All the characters will take part in the 'Pathinjattom' of

the battle scene. As the battle progresses 'Pathinjattom' shifts
into 'Ilakiyattcm' which ends in 'Kdiyattcm'. It is in the battle scene
that all the characters show the best elements of theatre. The

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 'Vikshepam Veesuka' '~ranguperumattom'
two styles of '~oodi~attom'
(Behaviour on the stage) are incorporated in to Mudiyettu-.

The main characters in Mudiyettu show great 'bhavabhinay;.

In the challenging and fighting scenes of '~ali'and '~arika'the.
labhinayasslyles prescribed by Bharatha 'Akampitha' and 'Kampitha'
are shown like giving hints, advice., questions, instructs etc.
are shown by the heads ('Akampithabhinayal)= In the fighting
styles of '~ali'and '~arika'various movements and steps of 'Kalari'
are incorporated* The character Koimpidanayar acts with
rhythmetic steps. He does not dance like other characters- Thus
Mudi~ettu has got a systematic acting-score.

4.6.7. Transformation and transportation of the performer.

When asked about the transformat.ion and transportation while .

enacting,Damodara Marar stated this (AI. 2 - 4 ) . .

"I usually enact the role of Kali- Even when I begin

the 'Vrithanustana', i feel the transformation already
taking place in me. But all the while, I have the
feeling I should make my performance of Mudiyettu
successful as spectacle. While I perform the role of
Kali, there is also the feeling of the actor in me,
though some times it. trespasses towards a kind of
trance.. In Pallippattu, there had an incident that
Kali actually killed Darika, getting in to an actual
trance. But I feel this kind of transformation is not
good for the performance". He says that the breaking

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 up of the balance of the performer happens because of the
breaking up of the 'rhythm'. The transportation takes place
without any external aid, though Kali, when out of control
should be physically held by other!; and brought under control.
For this the sword in the hands of Kali would be made to pierce
on the ground. The actor thereby regains his self.

4.6.8 From Ritual to Theatre in Eudiyettuq

How the ritual performance of '~udiyettu'comes almost

near to theatre is illustrated by the following examples. The
theatrical quality of this ritual is illustrated in the
introduction of the unritualistic character 'Koimpadanayar' in
the third scene of Mudiyettu . S.K. Nayar says that the
character reminds us of 'Ittikkandappakaimal' in 'Yatrakali' (N. 24)
He comes to the stage like a nayar-chieftain and poses questions
to the'melakkars' and converses with them. Damodhara Marar (A-12.8)
says that this character has got a dramatic function in the myth
itself. He is actually 'Nandikesa' (the carriage of Siva) who
comes to aid and appease Kali, who imitates what all things he
enacts in the performance. He also dilutes the fierce tempo of
the enactment, by providing comic relief to the audience through
his comic dialogues. During this time he lets loose a volley of
social criticisms against the society. Another powerful
dramatic function is carried out by the 'Koolies'. In the
fighting scene '~ali'stands with anger and Darika is positioned
in the middle of the stage ready to fight with'~a1i.' In between
them there are '~oolies with their ridiculous gestures.

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 I
Koolies are laughing and foolishly behaving. These two extremes
of characters can be seen in classical as well as folk
traditions. G. Sankara Pillai points out that it provides an
extra-ordinary theatrical beauty to the whole performance,achieved
by an aesthetically contrasting mixture of the sublime as well
as the ridiculous (1990 : 3 8 5 ) .

4.6.9 Catharsis: a theatre-function

The performance of ritual arts are generally at the

contexts of a religious tradition. There, the characters are
above the secular and mundance world. Here the performance is
ritualistic and not secular, or it is supposed to be so. The
audience here is both participant and spectator, as a spectator
he witnesses the enactment and a:j a participant, he involves
himself in the religious act. He is a believer here, and
therefore, there is 'no willing suspension of disbelief' as in
theatre. But we see in Mudiyettu , .Theyyam or Padayani the
sequence of satire, irreverance , vulgarity or obscenity
incorporated,as in the characters 'Paradesi', 'Pattarum-Pennum',
in 'Padayani (A 11. 3.8) and ' ~oim~adanayar'
in pludiyettu .
This actually brings the ritual arts closer to Theatre. Why is
this introduced? Is this against the ethos of spirituality in
the ritual arts? Has it got connection with therapeutic aspect
of drama as with Artistotle or ~reud't Here it is worthy to
quote Ranjini and Gananath:

"Ritual drama is a collective phenomenon, not an

individual. In this case, we could say that

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 psychological anxiety endemic to the group or a source
of group concern is handled through obscenity in drama.
It is therefore fair to say that humour in ritual drama
is a form of catharsis. The group by virtue of a shared
religion, vicariously participates in the ritual
enactment and purges the:ir own internal terrors and
anxiety through communally shared humour." (1976:69)

Here the comic catharsis is almost reverse of tragic catharsis.

But here we have to remember also that in some ritual dramas
where this ritual element is not. there, the catharsis occurs
through the Aristotilian process, there the audience identify
themselves with the mythological characters represented on the
stage, the emotions of pity and terror are aroused and
subsequently purged at the culmination of the drama. This is
what happens in Mudiyettu and padayani .
>
4.6.10 Mudiyettu as Theatre, Sampoorna Mudiyettu.
Ritual towards theatre.

It is interesting to note here that how the veteran

Pazhoor Damodara Marar tried to take this traditional ritual
art-form almost closer to a theatre performance and to analyse
his experiences. (AI. 2-13). He tried to present it like a
theatre-form without losing its ritual qualities. He calls
this form ' ~ a m ~ o o r
Mudiyettu
n~ . For the movement of 'Vethala'
he created a sacred grove where Vethala

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 meets 'Kali' and offers his help to her to kill Darika. It was
presented for about six hours with thirty two actors through
thriteen scenes. It was a tremendous success as a spectacle. He
told the investigator that more than the devotee in him, it was
the artist who succeeded in its presentation- He witnesses that
the theatre in this ritual art - form got projected and won
success, the ritual aspect lingered in the background. This had
been a great example how a ritual can be taken to theatre with
success.

4.6.11 The ConceDt of the director in Mudiyettu.

The above example inevitably leads us to a question of the

director in a ritual art-form. In Theyyam it is the father, or

the grand father or the uncle of the performer. Here, it is the

head of the family as Pazhoor, himself was. The whole performance
was conducted under his leadership. The leader or 'the Asan' as he
,
is called , should be an expert in 'Kalamezhuthu pattu or
'Mudiyettu'. He is the soul of the art-form-like the director in
a theatre. He has got a high status in a society. He would be
invited 'even-to the functions of the upper class society. It is
through him the problems of the society are solved. Through him,
thus, the ritual art becomes an integral part of the society.

4.7.0. Audience in Mudiyettu

As in all ritual performance,, the audience here is less a

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 spectator and more a participant. They go to witness Mudiyettu
as devotees, although theatrical entertainment is provided (as
through 'Koimpidanayars' and '~oolies). But as Pazhoor points out
they are more devotees, as they come with of serving 'penance' or
'vrithas'. These people never get tired of seeing the same
enactment of 'Mudiyettu through five or six days, because there
is the devotional elements in them (A1 2-71. Had it been a
theatre-event, they would have become bored. The actors and the
audience are in an environmental theatre as M-iyestu is often
performed in 'Sacred groves ( K ~ I V U )or in temple premises. The
vast expanse is taken as the venue of the performance-place.

4.7.1 Audience-Status

The main section of the audience will be Hindus as they alone

are. allowed to enter these '~avus'or temple premises. Amony the
~indus,the upper class will fo.cm the majority. There would be
three types of audience, t:le managers and the family members at
the front, Nayars and upper class people just behind them, and
the workers who remain as mere spectators at the back.

4.7.2Audience belief.

Obviously, the spectators here have come not for theatrical

experiences, they have come here to share the metaphysical
experience of devotion* But they unknowingly enjoy the
theatrical aspects in it. They enjoy the spectacles of rituals
like 'Thalappoli', 'Kalamezhuthu', 'Kalampattu', 'Ezhunnellippu'
and 'Mudiyettu' as in a theatre. But,for them it is not an

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 entertainment, but a worship- It is performed often as an
offering
.
for begetting children, employment, for the cure of
illness etc. The audience here is 'static' in the sense that
they repeatedly like to witness the ritual of 'Mudiyettu'.

As in environmental theatre, t.here is the actor audience

communication taking place in Mudiyettu. After the killing Of -
Darika, Kali whirls her torch ipandam;) around the audience. This
is the symbol, that all the bad elements due to the rule of
Darika is exorcised. In the refrains of the battle scenes also,
. Kali does this performance* Then she receives 'Dhakshina',
sitting on the peedom. In the fifth scene 'Vedala' with a torch
in his hand approaches the audience and asks for 'Kaineettom'
(offering of money) from the audience. This is done as a comic
enactment. This communication is heightened more by the
theatrical arrangement of performance. The different exist and
entry passages, different levels the divine location etc. are
skilgully made use of by the performers. The interpolation of
comic episodes and such situations in the course of the ritual
heightens dramatxc
- intensity.. This provides amusement to the
mundane section of the spectators, The lingos used in the
dialogues give amusement to the spectators. There will be
punning upon words, spoonarisum, ob~scene comments etc. Sexual
relationship between man and woman is blantantly referred to
colloquial slangs, which provide. a hilarious atmosphere. The
comic effect is heightened in the scene of coming of a man into a new

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 locality without knowing the colloquial language there and tries
to communicate. Thus, through riitual and through theatre the
actor-audience relationship is established in ~udiyeftu .

4.7.4. Audience participation* Influence of Myth

The myths contained in tlhe ritual art - form usually

influence the participation of the audience still further.
'~arika ~ a d h d(killing of Darika) is a myth that forms popular
ritualistic art-forms in Kerala. The myth is very popular in
Kerala because of the innumerable goddess- temples and 'Kavu'
(sacred groves ). when it is enacted in Mudiyettu the emotional

involvement is heightended, as the audience is already familiar

with the myth.
4.8.1. Costumes -in 'Mudiyettu' - Theatre functions.

The dramatic appeal of Mudiyettu' is by far augmented by a

convincing transformation of men i.n to Devas and Asuras by the
ingeni.ous use of costumes. This: is evident from the visual
level masks, make-up, costume and choreographic patterns- Darika
puts on a costume reminding the 'Kathiveksha' of Dhuryodhana or
Ravana. The head-gear and face-palinting is almost the same. He
adorns himself with 'uttariyam', the shawl which is pure white
cloth, rings and bangles are used as ornaments. 'Thechi' flowers
will be used as a ring in the left hand. The back portion of the
costume is that of the '~hak~ar'.White cloth is folded many times
to make up elevated buttocks. Another white cloth is used as a
long under garments '~hurukas',tridents are held in both hands.

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 K a l i w i l l b e p u t t i n g on t h e costume n e x t . The f a c e w i l l be

, completely darkened w i t h ' K a r i ' . A p a s t e made o f r i c e powder and

lime is used to give shape to the face what is called

' C h u t t i k u t h a l ' . T u r m e r i c powder and l i m e m i x t u r e l i n e s a r e g i v e n

on t h e f a c e i n between numerous w h i t e d o t e s t o r e s e m b l e s m a l l
p o x - p i t s o r pox marks. Curved l o n g t e e t h i s drawn on e i t h e r s i d e

over t h e red l i p s . 'Thechi' f l o w e r i s r i p p e d and a f f i x e d on t h e

f o r e h e a d , t h r e e of them, on t h e n e c k , on t h e n o s e , and jaw w i t h

the h e l p of 'arimavu', (rice flour). The appearance will be

f i e r c e . The h e a d g e a r w i l l b e a l m o s t l i k e a n a r c h d e c o r a t e d w i t h

'Kuruthola' ( t e n d e r c o c o n u t l e a v e s ) . The ' u d u t h u k e t t u ' would be

like that o f 'Darika; Then the other characters like Siva,

' ~ a r a d a ; bhanava ; ~ o i r n ~ i d a r' 'v,e t h a l a ' and ' ~ o o l i 'w i l l be costumed.

The costume of ' ~ a n a v e e r a 'o r ' ~ a n a v e n d r a ' , t h e elder brother of

Dharika i s green i n colour. The w a i s t - d r e s s i s l i k e t h a t of

f o l d e d costume o f ' ~ a r i k a ' . Red i s used f o r 'Danavendra'on t h e f a c e

a s h e i s a demon.

The costume o f ' ~ a r a d a ' i s v e r y s i m p l e w h i t e cloth is h i s

dress. H a i r d r e s s i s t h e same as used i n ' W h a k a l i ' . Beard

i s w h i t e , t h e r e would b e a p a l m - l e a f 'Grantha' i n h i s hands. For

S i v a and ' ~ o i m ~ i d a n a ~ a ;t,h e f a c e would be o f ' ~ i n u k k u ' ~eksham'.

H a i r d r e s s i s t h a t of 'Uthakali'. Costume o f V e l a k a l i i s used

>
f o r Koimpatanayar, shield i n l e f t hand and s h a r p p o i n t e d s m a l l

sword i n r i g h t hand and t u r b a n on t h e head.

The ' ~ o o l i e s w
' i l l h a v e o n l y b l a c k costumes. Black i s a p p l i e d

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 on the face. The dreiss is made up of dried plantain-leaf etc.
Breasts are' moulded by fixing coconut shell-halves on
the chest. Face will be blackened first and multi-coloured dots
will be marked on it. Tender coconut leaves, garlands and twigs
of plants adorn the waist -dress. Many neck ornaments,
multicoloured jackets on the breast, tender coconut leaves
around neck, flower garlands, bunches of flowers made in to
garlands over the breasts. 'vethala.'enters with a long pointed
stick and branches of tress in his hands.

The costume of Mudivettu reminds us of the costume of

Kathakali above the waist and those of Chakyarkoothu below
the waist. Kathakali might have adopted these costumes from
'Mudiyettu . The influence of the ancient theatrical art-form of
m o t ivattom and Chakyar K o o s u can be traced in the presentation

4 . 8 . 2 Chuttikkaran (make-up _man!

>
All the costumes in Mudi~ettu are done by the Chuttikkaran
(make-up artistlwho is an expert in the field. He must know about
the different aspect:; of Aharyabhinaya. The style of costume
would be to give the impression of the unworldliness. The
'Chuttikkaran' creates the dramatic concept of 'Mudiyettu'
through his costume design. It is he who selects the dress, the
ornaments and coloura of the characters in Mudivett_u . He is

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 the artist as well as the craftsman who designs the theatre of
;i4udiyettu .

4.8.3Properties used a7 the staae.

In the texture of ritual arts of Kerala, the place of

certain articles like 'Yavanika' '1?eedom1 and 'Nilavilakku' have
significant theatrical functions. These three stage props have
been taken here for special study because they have great
bearings upon the Modern Malayalam Theatre.

The use of 'Yavanika' has got a great theatrical function

in 'uudiyettu'. Pazha'or says that during early days it was pure
white cloth with no border or any other decoration that was used
as the 'Thirassila' then. But now-a-days 'the '~hirassila'has
undergone many modifications and has been made as attractive as
that of Kadhakali . Those who hold 'Thirassila' should also
shout cheers and shoilld sprinkle rice powder, 'Thellippodi' for
?
the entrance of '~alj.. Chummar opines that '~hirassiliwas not
used formerly in 'rnliyettu' (1950:214). Now, for the entrances
t I r
of important characters like '~ali'and Darika, ~hirassila' is
used. In traditional theatre-forms of Kerala, there had never
been the habit of separating the performer from the audience.
This may be because of the infrluence of Koodiyattgm and
yrishnanattom.

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 4.8.5Theatrical function of 'Yavanika'

The different episodes of the story to be enacted might

have been happening in different places. The intimation of these
different places and the sequence of events should be conveyed
to the audience. In the traditional art-forms this is done not
in the realistic way. Here the use of 'Thirassila' is pertinent.
The first scene in Mudiyettu
- happens in 'Kailasam'. Siva is on
his carriage Nandikesan and Narada complaints to Siva reading a
'Varola'. An ingenious, use of 'Yavanika' is seen here. It is
held almost up to the waist of Sivau Above it Siva will be
holding the head of a wooden ox. The second scene is presenting
Darika conquest. Behind theryavanika Kali will be standing, the
back at the audience, replying to the challenges of'~arika'. It
is supposed that '~arikaiis challenging Kali from above 'the
udayaparvatham', and 'the asthamayaparvatham' and the distant
'Yamakoodaparvatham'. The 'Yavanika' gives us the hint that Kali
is somewhere there.

Another function of 'Yavanika' is to project the entrance

of important characters. As the stage is very vast, the
entrances are very important. In the first scene of Mudiyettu
Siva and Narada are appearing. In the hands of Siva, there would
be the wooden head of an ox. He will be moving this on the edge
Of 'Thirassila' from right to left, forward and backward. First
Siva would show his head above it, and then both characters come

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 to the front. Thus t h e importance of the f i r s t character is
shown t h r o u g h 'Yavanika' . Similarly, f o r t h e f i r s t e n t r a n c e of

'Darika' and 'Danavendra', ' ~ a v a n i k a 'i s : u s e d . I t must be said here

t h a t f o r t h e e n t r a n c e o f 'Koimpidanayar: 'Yavanika' i s n o t used,

as he is not an innportant character. For the entrance of

'Kooli' , t h i s i s used. Thus i n t h e v a s t area . of t h e s t a g e , a

p o r t i o n of it i s p r o j e c t e d t h r o u g h t h e u s e of 'Yavanika'.

4.8.6 'Yavanika' a s a [ ) a r t o f a c t i o n .

'Yavanika' i s u:jed a s a p a r t o f a c t i o n sometimes. For e g .

it i s p r o v i d i n g a royal s t a t u r e t o t h e c h a r a c t e r s ' ~ a r i k a 'and
1
Danava' a t t h e t i m e o f t h e i r entrances. I t i s i n t h e movements

'Yavanika' s u c h a f u n c t i o n i s g i v e n ( N o t e 2 5 ) .

How ' ~ a v a n i k a becomes

' a part of action is seen at the

meeting p o i n t of b a r i k a ' and ' ~ a l i . Here lowing the 'Yavanika'

'Darika' views ' ~ a l i ' . Then ' K a l i ' s t r i k e s a t 'Darika ' who d i s a p p e a r s

behind t h e c u r t a i n . This is repeated b Thus i n t h e a c t i o n

sequence 'Yavanika' becomes a part.. In the changing theatre
c o n t e x t of today, t h e concept of 'Natyadharmi' i s g i v e n much
importance. Now, symbols projecting actions evolved. Even an

empty s p a c e becomes p a r t o f t h e s t a g e . 'Yavanika' i n t h e modern

t h e a t r i c a l c o n t e x t s , d o e s n o t have 3 r e a l i s t i c f u n c t i o n on t h e

stage. I t d o e s t h e s y m b o l i c f u n c t i o n on t h e s t a g e i n most c a s e s .
I n t h e s p e c t a c u l a r and stylised ritual art-forms, t h e u s e of

'Yavanika' was in a s t y l i s e d manner, therefore, i n t h e modern

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 theatrical contexts, it does nothavea realistic function on the
stalge. It does the ~iymbolicfunction on the stage on most cases.
In the spectacular (and stylised ritual art-forms, the use of
'Yavanika' had a stylised function, therefore, in the modern
concept of 'Natyadharmi' theatre the role of 'Yavanika' is great*
It is in the simplicity of its use and its functions on the
stage the importance of 'Yavanikat lies. Pazhoor also stresses the
theatrical function* of 'Yavanika' more than its ritual
functions. (AI-2-10).

4.8.7 Peedom

The theatrical function of 'Peedom' in 'pudiyettu' is very

significant. It contributes to the dramatic elements of the
performance. In 'Mudiyettu , it is firstly used to project the
characters on the stage. In the challenging scene of barika' with
'~ali;we see its skilful use. Standing ~n this peedom, '~arika
challenges Kali'. 11; symbolises sometimes hills and mountains.
It may be used for the temporary retreat of characters. In
Kathakali and Koodiyatt-om , the more ingenious and theatrical
use of peedom can be seen. It becomes sometimes a throne, a
garden bench etc. The symbolic use of this 'peedomt is carried
on to the modern Malayalam Theatre, many a time, as refined
planes.

4.8.8 Nilayilakku' -. theatre- functions.

'~ilavilakku'or kalivilakk; is used not only for the mere

function of illuminating the stage. It has a ritualistic or holy

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 meaning on the stage. The theatrical function of focusing the
attention of the audience on the subtle variations of emotions
on the faces of the characters, is also achieved by 'Kalivilakku'.
The aesthetic effect it provides to the flesh-painting, the
elaborate and splendi,d costume of the characters is very high.
Its metaphysical effect is shared by the audience, as they have
a holy conception of it. Pazhoor points out that the holy lamp
in Mudivettu symbolises the All mighty God 'Siva' and not
Ganapathi as in other ritual arts. (Note 26) (A1 - 2-10).
4.8.9 The lighting in "~udiyettu'

The natural lighting pattern in Mudiyet&u provides a

wonderful effect to its performance. The darkness as well as
light can contribute to the conveyance of emotion. 'Torches'
and five-wicked torches are used to give light and shade of the
performance of Cudiyettu . The performance space of
Mudiyettu is the whole temple premises or sacred grove.
During the fighting scene, Darika takes to his heel, Kali
follows- him through this space. The torch-bearers have to rush
after them with burning torches. The intensity of the
fierceness of the whole sequence is heightened by throwing
'Thellippodi' on the burning torches, K.P. Narayana ~isharadi
in his translation of Natyasastra tells us that by throwing
'Thellippodi' on the burning torches sound should be produced.
(N. 27)

4.8.10 Music in Mudiyettu

Music is given great importance in 'Mudivettu . Evenbefore

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 the recitation of 'Aranguvazhthal', the 'ragas of 'Natta',
'savari', 'Sankarabharkamt will be sung, In the dialogue between
Siva and Narada, and Kali and Darika, there would be particular
I
ragas' used. The first challenging call of Darika would be in
'Anandabhairavi', the second in 'Puraneevu' (because it is in
the early morning) a 'rag; similar to ('Bhupala'). The musical
I

instruments used are 'Chenda', 'Elathalam', 'Kompu', 'Sanku',

'Kurumkuzhal' etc.inthe rituals. During 'Kalampooja' and
'Thiriuzhichil', the instruments 'Kompu', 'Kurumkuzhal', 'Sanku',
Elathalam' , and 'Chenda' are used. During 'Kalampattu' only
' Chenda' and 'Elathalam' are used. During erasement of 'Kalam'
'Sanku' and 'Veekanchenda' are used. In '~rangukeli' 'Chenda',
'Madhalam', 'Elathalam' are used. In 'aranguvazhthal' , Dialogue of
Siva and '~aradha), 'Entrance of '~arika: 'Urukkuchenda',
'Veekkanchenda', and '~lathalam'are used. During the challenge
scenes, killing of '~arika',the blessing of Kali ' urukkuchenda ' ,
'Veekkanchenda' and 'Elathalam' are used. There are no separate
singers for '~udivettu'.The 'vaddyakkars''sing and some times
even the actors sing. An analysis of the application of music in
u shows that along with ritual elements, it
intensifies the theatrical quality of the performance.

- - phases
4.9.0 The changing . .... of 'Mudiyettu',today.

Pazhoor believes that '-$..' cannot remain only as a

spectacle as all ritual arts are (AI.2.12). It can withstand the
onslaught of time only with the ritualistic elements in it.(~.28).Even

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 if it is taken out of the temple premises, it can be presented
only with a ritualistic atmosphere. The improvements in
Mudiyettu cannot be done with the erosion of rituals in it.
Today there are three families conducting -MudiyetW'- (1) In
Muvattupuzha (2) Pazhoor and ( 3 ) Koratti. But they cannot depend on
the ritual art-formfortheir livelihood, as it is only seasonal.
Now it is taught in Shektra Kala Peedom, Vaikom under the
Travancore Devaswom Board- Pazhoor suggests that all the groups
which are conducting Mudiyet.' should come together, to
re novate it and project. it to the outside world. (AI-2-11].

4.9.1Theatre lessons from 'Mudiyettut-~nalysis.

Pazhoor, admitting that he is not familiar with modern

trends of Malayalam Drama opines that, the dramatic elements and

spectacular aspects in u can provide immense knowlege
to the modern theatre-worker. Through an intimate acquaintance
with the ritual art, he can develop a new Theatre-culture. Ritual
arts, in general, provide us with an awareness connected with
the life of man in its totality, his aspiration, fears, wishes
and disappointments. The concept of time and space involved in
the ritual arts can be a model for the theatre-worker of today. The

motif of the costume is based on imaginative visiona Within the

codified acting style (score), the performer enjoys immense
freedom. The modern director has to express the emotional as
well as the inner meaning of the play. For this he can draw

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 inspiration from the scenic design, action, rhythm, costume etc.
of the ritual arts. How the 'Lokhadharmi' and 'Natyadharmi' be
mixed for the effective theatrical presentation is the powerful
core of the ritual art$#

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