355

APPENDIX - VI

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TDR 23.2. (June 1979) 113-124. -

CONTENTS ACKNOWLEDGMENT CHAPTER I 1.0. INTRODUCTION 1.1.1 The evolution of Modern Malayalam Theatre 1.1.2 The investigation-points 1.1.3 Justification of the Investigation 1.2.0 Methodology 1.2.1 Structural analysis 1.2.2 Observation 1.2.3 Interview 1.3.0 Analysis of data 1.3.1 Reporting 1.4 Organisation of the Thesis CHAPTER - II 2.0 RITUAL AND THEATRE 2.1.0 Introduction 2.1.1 Ritual, definition and scope 2.1.2 Ritual and Religion 2.1.3 Ritual as irrational acts 2.1.4 Ritual as Symbols 2.1.5 Ritual and art 2.2.0 Origin of Ritual 2.2.1 Fertility cult 2.2.2 Ritual and sacrifice 2.2.3 Functional approach 2.2.4 Ritual and Religion 2.3.0 Functions of Rituals 2.3.1 Social Integration 2.3.2 Ritual in the modern Context 2.4.0 Ritual and myth 2.4.1 Myth in the modern Context 2.4.2 Myth in ritual Connection 2.5.0 Origin of Indian Theatre 2.5.1 Ritual dances : the origin of Indian Theatre 2.5.2 Theatre : Vedic origin 2.5.3 Theatre : Tribal origin 2.6.0 The actor - concept in Ritual arts 2.6.1 Training in Ritual arts and Theatre 2.6.2 Transformation and Transportation in Ritual Arts and Theatre 2.6.3 Performance Theory 2.6.4 Status elevation and status reversal of the performer in ritual arts 2.6.5 The performative principle of 'Tai' and 'Ya' 2.7.0 Audience in Ritual arts : Experiences 2.7.1 Audience-participation : Physical level 2.7.2 Audience-performer identification 2.8.0 Ritual and Theatre 2.9 Theatre-Externals in ritual arts : a lesson 2.10 Analysis CHAPTER - III RITUAL IN THEATRE (Ritual concepts in Artaud and Grotowski)

3.0 Introduction 3.1.1 Actor 3.1.2 Theatre-language 3.1.3 Actor-Training 3.2.0 The ritual concept of actor in Artaud 3.2.1 Theatre-Language in Artaud : Ritual relevance 3.2.2 Actor-Training 3.2.3 Trance in the actor, a ritual element 3.2.4 Transformation and transportation 3.2.5 Action in The Cenci, an analysis 3.2.6 Action-sequences in The Spurt of Blood 3.3.0 Audience in Artaud 3.3.1 Treatment of myth and audience participation 3.3.2 Catharsis in Artaud, its ritual significance 3.4.0 The ritual relevance of theatre externals in Artaud 3.4.1 Costumes in Artaud's Theatre 3.4.2 Stage-props and sets 3.4.3 Musical instruments : Music and Sound 3.4.4 Light as visual symbol 3.5 Analysis 3.6.0 Actor-concept in Grotowski, ritual influence 3.6.1 The difference in the concept of the actor in Grotowski and Artaud. 3.6.2 Action as sacrifice and autopenetration, a ritual quality 3.6.3 Acting-Score or theatre language in Grotowski : A comparison with ritual arts 3.6.4 Preparation of the Actor in Grotowski; ritual influence 3.6.5 Actor in Grotowski, ritual influence of the East 3.6.6 Grotowski and Balinese Theatre 3.6.7 Body-memory, a ritual concept 3.6.8 Transformation and Transportation in Grotowski's actor, a ritual comparison 3.7.0 Audience-concept in Grotowski; ritual influence 3.7.1 Catharsis in Grotowski, a social psychotherapy 3.7.2 The ritual element of actor-audience communion 3.7.3 New concept of the spectator 3.7.4 Paratheatrical experiments - ritual elements 3.7.5 Treatment of myth in Grotowski - a means of audience participation as in ritual arts 3.8.0 Theatre-Externals. Sensuous elements in Grotowski's Costume, Music, Stage props etc 3.9.0 Analysis CHAPTER IV THEATRE IN RITUALS 4.0. Introduction 4.1.0 Theyyam 4.1.1 Theyyam : a community act 4.1.2 Ritual enactments in Theyyam 4.2.0 Actor-Concept in Theyyam 4.2.1 Training of the performer in Theyyam 4.2.2 `Abhinaya'in Theyyam and Natyasastra 4.2.3 Transformation and Transportation 4.2.4 Belief in the performer 4.2.5 Some moments of drama in Theyyams 4.2.6 Status reversal of the actor 4.2.7 Theyyam : a theatre of cruelty 4.3.0 'Audience in Theyyam 4.3.1 Environmental Theatre of Theyyam and audience-involvement

4.3.2 Catharsis in Theyyam 4.3.3 Myths in Theyyam and audience 4.4.0 Costumes 4.4.1 Theyyam-Costume 4.4.2 Materials used in Theyyam-decoration 4.4.3 Significance of weapons in Theyyam 4.4.5 'Mukhathezhuthu' 4.4.6 General functions of Masks 4.4.7 Types of masks and their functions 4.4.8 Properties used in Theyyam 4.4.9 Lighting System 4.5.0 Modernisation of Theyyam 4.6.0 Mudiyettu 4.6.1 Myth in Mudiyettu 4.6.2 Rituals in Mudiyettu 4.6.3 Actor-concept in Mudiyettu 4.6.4 Traditions and perogatives of the actor 4.6.5 Actor-training 4.6.6 Acting-Score 4.6.7 Transformation and trasportation of the performer 4.6.8 From Ritual to Theatre in Mudiyettu 4.6.9 Catharsis, a theatre function 4.6.10 Mudiyettu as theatre, Sampoorna Mudiyettu 4.6.11 The concept of the director in Mudiyettu 4.7.0 Audience in Mudiyettu 4.7.1 Audience-status 4.7.2 Audience-belief 4.7.3 Actor-audience communication 4.7.4 Audience-participation, influence of Myth 4.8.1 Costumes in Mudiyettu - Theatre functions 4.8.2 'Chuttikkaran' (make-up man) 4.8.3 Properties used on the stage 4.8.4 Yavanika' (Thirassila) 4.8.5 Theatrical function of'yavanika' 4.8.6 'Yavanika' as a part of action 4.8.7 'Peedom' 4.8.8 'Nilavilakku', theatre-functions 4.8.9. The lighting in Mudiyettu 4.8.10 Music in Mudiyettu 4.9.0 The changing phases of Mudiyettu today 4.9.1 Theatre lessons from Mudiyettu -Analysis CHAPTER V INFLUENCE OF RITUALS IN MODERN MALAYALAM THEATRE Case -Studies - Phase I 5.0 Introduction 5.1 Ritual concept in C.N. 5.1.1 Artaud and C.N. 5.1.2 Kali 5.1.3 Myth in Kali 5.1.4 Actor in Kali 5.1.5 Preparation of the actor in Kali 5.1.6 Ritual moments in action 5.1.7 Creation of 'Velichappadu'

5.1.8 Artaud's concept of using language in Kali 5.1.9 Transformation and transportation of the actors 5.1.10 Audience in Kali 5.1.12 Catharsis in Kali 5.1.12 Use of stage-props - ritual influence 5.1.13 The Costume of the characters 5.1.14 Music and Lighting 5.1.15 Analysis 5.2.0 Kavalam :Avanavan Kadampa. Introduction 5.2.1 Ritual concept in Kavalam 5.2.2 Ritual and Theatre in Kavalam 5.2.3 Actor and actor preparation 5.2.4 Actor's training in Kadampa 5.2.5 Acting - Score - The evolution -- Difference with ritual arts 5.2.6 Ritual moments in action 5.2.7 Transformation and Transportation of the actor 5.2.8 About myths and myths in Kadampa 5.2.9 Audience-concept in Kavalam's Theatre and Kadampa 5.2.10 Music in Kavalam's Theatre and Kadampa ritual inf luence 5.2.11. Ritual stage-props used in the play 5.2.12 Ritual Constumes 5.2.13 Analysis - Kavalam, Artaud and Grotowski 5.3.0 Mudevi Theyyam: Introduction 5.3.1 Ritual concept in G.S. 5.3.2 Director in G.S. 5.3.3 Actor in G.S. 5.3.4. Actor-training 5.3.5 Actor in Mudevi Theyyam 5.3.6 Transformation and transportation of the actors 5 .3 .7 Ritual idiom in the play 5 .3 .8 Myth in Mudevi Theyyam 5.3.9 Concept of the audience in G.S. and Mudevi Theyyam 5.3.10. Stage props in 'Mudevi Theyyam' 5 .3 .11 Ritual music in Mudevi Theyyam 5.3.12 The concepts of Artaud and Grotowski in Mudevi Theyyam CHAPTER VI INFLUENCE OF RITUALS IN MODERN MALAYALAM THEATRE - Phase II -- Case studies 6.0. Introduction 6.1.0 Vayala Vasudevan Pillai - Introduction 6.1.1 Ritual-concept in Vayala 6.1.2 Actor-concept ; ritual influence 6.1.3 Preparation of the actor in Agni 6.1.4 Transformation and transportation in the actors 6.1.5 The Treatment of myth in Agni 6.1.6 Audience : ritual influence 6.1.7 Ritual-sequence in the action of Agni 6.1.8 Stage-props 6.1.9 Music in Agni : ritual influence 6.1.10 Costume 6.1.11 Use of light 6.1.12 General assessment of Vayala's theatre, ritual influence 6.2.0 Sauparnika : R Narendraprasad (R.l. p) - Introduction 6.2.1 Traditional concept in RNP 6.2.2 Actor-concept'in RNP and Sauparnika

6.2.3 Transformation and transportation 6.2.4 The conceptt of the director 6.2.5 Treatment of myth in Sauparnika 6.2.6 Ritual sequences in action 6.2.7 Ritual stage-props 6.2.8 Properties and space : their proportion 6.2.9 Use of Music, ritual influence 6.2.10 Audience-concept 6.2.11 Audience in Sauparnika 6.2.2 Analysis 6.3.0 Nadugaddhika : Introduction 6.3.1 Gaddhika ritual 6.3.2 Treatment of myth in the play 6.3.3 Actor-concept in Nadugaddhika 6.3.4 The transformation and transportation in the actors 6.3.5 Audience in Nadugaddhika

6.3.6 Music and lighting, ritual influence 6.3.7 Analysis 6.4.0 Pulijanmam : Introduction 6.4.1 Myth in Pulijanmam and its treatment in the play 6.4.2 Actor in N.P., ritual concept 6.4.3 Ritual influence in the action- sequence of the play 6.4.4 Audience in Pulijanmam 6.4.5 Ritual stage-props 6.4.6 Application of music 6.4.7 Lighting, ritual influence CHAPTER VII 7.0 CONCLUSION 7.1.0 Ritual Moving towards Theatre 7.1.1 The functions of actor-concept 7.1.2 The uses and functions of actor training in ritual arts. Comparison with Artaud and Grotowski 7.1.3 Lessons of actor-training from Theyyam and Mudiyettu 7.1.4 The ritual concepts of actor-training in Modern Malayalam Theatre 7.1.5 The function of transformation and transportation 7.2.1 The concept of audience - Relevance to Artaud and Grotowski 7.2.2 Catharsis - Relevance in Artaud and Grotowski 7.2.3 The uses and functions of myths - ritual influence 7.3.0 Theatre-externals in ritual arts relevance in Artaud and Grotowski 7.3.1 Theatre-externals in Theyyam : lessons 7.3.2 Theatre-externals in Mudiyettu : lessons 7.3.3 The uses of theatre-externals of ritual arts in C.N., Kavalam and G.S. 7.3.4 Theatre-externals in Vayala, R.N.P., Baby and N.P. - Ritual bearings APPENDIX (A I) (Interviews) AI - 1 A.K. Nambiar on Theyyam Al -2 Pazhoor Damodhara Marar on Mudiyettu AI - 3 Kadammanitta Vasudevan Pillai AI -4 P.K. Venukkuttan Nair (P.K.V) on Kali AI- 5 Kavalam Narayana Panikkar (Kavalam) on Avanavan Kadampa AI-6 S. Ramanujam on Mudevi Theyyam AI - 7 Vayala Vasudevan Pillai on Agni AI- 8 M.K. Gopalakrishnan on Sauparnika AI- 9 K.J. Baby on. Nadugaddhika AI -10 N. Prabhakaran on Pulijanmam APPENDIX II (AII) CHART SHOWING SELECT PLAYS WITH RITUAL INFLUENCE IN MODERN

MALAYALAM THEATRE OF THE PERIOD OF STUDY APPENDIX III (A III) SELECT-LIST OF ARTISTS / PERFORMERS / AUTHORS / DIRECTORS / ACTORS -- interviewed APPENDIX IV GLOSSARY APPENDIX V FOOT NOTES (N.1 to N.40) APPENDIX VI WORK CITED AND REFERENCES