 | |
| Author | Māni Mādhava Chākyār |
|---|---|
| Original title | നാട്യകല്പദ്രുമം |
| Language | Malayalam |
| Genre | Theatrical Study |
| Publisher | Kerala Kalamandalam, Vallathol Nagar (with financial assistance ofSangeet Natak Academi,New Delhi) National Book Stall,Kottayam- (distributors) |
Publication date | 1975, January |
| Publication place | India |
| Media type | Print (Hardbound) |
| Pages | 240pps |
Nātyakalpadrumam (നാട്യകല്പദ്രുമം inMalayalam, नाट्यकल्पद्रुमम् inDevanagari) is a book written by GuruMāni Mādhava Chākyār,[1] considered the greatest exponent ofKoodiyattam andAbhinaya in Kerala,[2] about all aspects of ancientSanskrit drama theatre tradition ofKerala—Kutiyattam. It was first published inMalayalam (1975) byKerala Kalamandalam, with financial assistance ofSangeet Natak Academi,New Delhi.[3] This work serves as a reference to both scholars and students. The entire book is written in the oldSanskrit text style closely followingNātyaśāstra. The structure and content of the book alike illustrate the knowledge of the author in both Sanskrit and Nātyaśāstra. The work received theKerala Sahitya Academy Award in the year 1976.[4] AHindi translation has been published by theSangeet Natak Akademi, New Delhi.[5]
Natyakalpadruma- theatrical study written by Mani Madhava Chakiar the great Guru of Koodiyattam the traditional Sanskrit theatre, is divided into eight chapters. The cover photo shows the famousPakarnnaatta-Abhinaya (male character enacting female character) of the maestro in Koodiyattam. Preface of the book is written by renowned scholar Shri Kunjunni Raja.[6] The book containsNavarasa photos of the maestro along with many of his rare Koodiyattam photos.
The author begins his work with an introduction and a few benedictory and introductory versus written in Sanskrit language. Here he salutes Gods, Goddesses and his great Gurus likePanditaratnamPannisseri Sankaran Nampoothiripad andHis Highness DarsanakalanidhiRama Varma Parikshith Thampuran. Then he summarises the beginning ofNātya andNātyaveda as told by the great sageBharata in his monumental workNātyaśāstra and salutes the sage. Then in one stanza the author narrates his horoscope (Jataka) which depicts his scholarship inJyotisha. Then again he prays for the blessings of sage Bharatha the propagator ofNātya on the earth.
In the last stanza he compares his work to theKalpadruma- the heavenly tree which gives everything requested. Nātyakalpadruma also gives all details aboutNātya that is Koodiyattam and so the name of the workNātyakalpadruma is meaningful in all senses.
The eight chapters included in this work are
The first chapterSamjnaprakarana gives the names of costumes and other materials used in Koodiyattam. A detailed description of different names etc. used in Koodiyattam for different steps, actions etc. are also given in this chapter.
The second chapterParibhashapakarana gives the names and descriptions of different types of narration, enacting, characters, their languages, characteristic features etc. This chapter also narrates different types ofacting which are included in koodiyattam on special occasions. For example, how to act on stage without dialogue such things like capital city, mountain, trees, garden, hermitage, seasons, heaven etc. are given precisely. FamousAbhinayas (acting) such asKailasoddhārana (lifting ofKailasa),Pārvatī Viraha (separation of Pārvatī) etc. are also included in this chapter. Details of wearing differentcostumes and different types ofabhinaya are also given here.
The third chapterMudra-Taalaprakarana gives elaborate narration ofMudras (movements of hands and fingers), their names and their usage in Abhinaya. DifferentTaalas used in Koodiyattam are also described here. The usage of differentTaalas according to differentSwaras (Rāgas) and different contexts is the next point discussed in this chapter.
The fourth chapter,Swaraprakarana deals with different Swaras (Ragas) used in Koodiyattam they are 20 in number which are calledMuddan, Shreekantthi, Thondu, Aarthan, Indalam, Muralindalam, Veladhuli, Danam, Veeratarkan, Tarkan, Korakkurunji, Paurali, Poraneeru, Dukkhagandharam, Chetipanchamam, Bhinnapanchamam, Shreekamaram, Kaishiki, Ghattanthari and Anthari. Details of their usage in abhinaya according to Rasas, Characters, Contexts etc. are also narrated with suitable examples.
The fifth chapter which is calledRasaprakarana deals withSatwika-Abhinaya (Satwikābhinaya)- the most important one among the four types ofAbhinayas. Topics such as Nātya, Nritya, Nritta,Rasa, Bhava, Vibhava, Anubhāva, Satwikabhāva, Vyabhicharibhāva, their enacting, movements of eyes for different Rasas andBhavas etc. are also discussed here . Some examples ofRasābhinaya (Rasa-Abhinaya) are also given. Thus this chapter gives a clear picture of the theory and practice regarding Rasābhinaya. The minute details ofNetrābhinaya- enacting with eyes, eyes only are given here by the greatest master of Netrābhinaya.
The sixth chapterAbhyāsaprakarana deals with practical training in Koodiyattam. Here the author gives twenty one types of eye movement which are to be practiced by a Koodiyattam artist who specialises in Rasābhinaya. These are very important for Koodiyattam artist as well as artists from other classical art forms. Special duties ofChakiars (actors),Nangiarammas (actresses) andNambiars (drummers who playMizhavu) are also narrated here in detail .
Drishtāntaprakarana the seventh chapter contains examples of different types ofabhinaya, narrations of different types of stories and conversations etc. used in Koodiyattams. Peculiarities of languages to be used in different contexts by different characters are also given here.
The last chapterVaisheshikaprakarana givesSlokas used as benedictory verses in the beginning of different Koodiyattams with and withoutAbhinaya, Slokas used inNirvahana, Slokas used at the time of elaborate special Abhinayas such as the beauty of heroine etc.,Slokas used byVidūshaka (Vidushaka) which are mostly in regional languageMalayalam orPrakrit, examples of stories used by Vidushaka etc. It also gives the details of special stage arrangements to be made for the performance of some rare scenes. Then the author gives the special rules and regulations to be observed by the Koodiyattam troop at the time of performance especially when it is done in aKoothampalam (traditional theatre) or in a traditionalHindutemple which are the real stages of this traditional, classical art form. Some special rights of traditional families of artists are also given. Details of special performance in some traditional Hindu temples in Kerala are also discussed in this chapter.
Thus the work as a whole contains all details regarding the traditional classical temple art. One can see the footsteps of the great scholar, great artist and greatAchārya (teacher or Guru) who lived on the stage for about 80 golden years, in this commendable work. His skill in all aspects of Koodiyattam especially the unparalleled Netrābhinaya are world-famous.
This monumental work has been published inHindi bySangeet Natak Akademi,New Delhi (1996). The translation was done byChakyar Koothu- Koodiyattam artist and son of Guru Māni Mādhava Chākyār, PK Govindan Nambiar- and edited by Dr.Prem Lata Sharma.[7][8]
