*The ability to interpret something. How we frame something in theatre to allow the audience to look for meaning within it.*
1. Raw Materials (devising)
2. Shaping (performance concept)
Tuesday, September 18, 2012
Friday, September 7, 2012
Practice:
Kathakali Theatre
Play:
The Progency of Krishna by Mandavappalli Ittiraricha Menon
Aspects of Practice:
Kathakali Theatre
Play:
The Progency of Krishna by Mandavappalli Ittiraricha Menon
Aspects of Practice:
- Based on themes from Hindu mythology (the Ramayana and the Mahabharata).
- Elaborate make up code.
- A highly developed language of gesture, through which the artist can convey whole sentences and stories.
- Included five elements of "fine arts": natyam (expression), nrithyam (dance), mudras (enactment), geetha (song) and vadyam (instrumental accompaniment).
- "The training and body language were influenced by the techniques of Kalarippayattu (a martial art)".
- Royal Patronage.
- Characters are classified into five groups (Pacha, Kathi, Thadi, Kari and Minukku)
- The make up is different depending on the group.
- Categorized according to their nature.
- 18 additional characters who have distinct make up.
- The dancers wear large head dresses.
- The style of singing is called Sopaanam.
- The orchestra provides the background to the dancing and serves as a highly expressive special effects team.
Aspects of Play:
- Hindu Mythology
- Royal Patronage
- Character Classification (nature, make up etc.)
Possible Focus:
- Hindi Mythology (Scenes 6-11)
- Royal Patronage (Scene 1)
Possible Research Question:
- How is Hindi Mythology used to create a more relatable and understandable circumstance in Scenes 9-11 of The Progency of Krishna by Mandavappalli Ittiraricha Menon?
Monday, September 3, 2012
Kathakali Theatre - My Sources
Websites:
Books:
Kathakali: The Art of the Non-worldly –
D. Appukuttan Nair, K. Ayyappa Paniker
Kathakali – Sadanam Balakrishnan
Kathakali dance-drama – Phillip b. Zarrilli
Friday, August 24, 2012
Kathakali: Narrowed Aspects
- The make up and how it is used to depict a stock character/character classification.
- The use of the orchestra to support the background of the dancing.
- The use of gestures to recite a sentence/tell a story.
Kathakali Theatre: Important Aspects
- A colourful dance-drama.
- Based on themes from Hindu mythology (the Ramayana and the Mahabharata).
- Elaborate make up code.
- A highly developed language of gesture, through which the artist can convey whole sentences and stories.
- Included five elements of "fine arts": natyam (expression), nrithyam (dance), mudras (enactment), geetha (song) and vadyam (instrumental accompaniment).
- "The training and body language were influenced by the techniques of Kalarippayattu (a martial art)".
- Ramanattam is divided into 8 sections and is performed within 8 days.
- Royal Patronage.
- Characters are classified into five groups.
- The make up is different depending on the group.
- Categorized according to their nature.
- The classifications are Pacha, Kathi, Thadi, Kari and Minukku.
- 18 additional characters who have distinct make up.
- The dancers wear large head dresses.
- Contours of the face are extended with moulded lime.
- The style of singing is called Sopaanam.
- The orchestra provides the background to the dancing and serves as a highly expressive special effects team.
Thursday, August 23, 2012
Wednesday, August 22, 2012
Noh Theatre: Possible aspects for RI
7. The Noh play is acted by the protagonist (the Shite), the supporting character (Waki) and the followers (Tsure).
9. The role of the chorus is to chant the lines of the main performer in a falsetto pitch while he performs a dance.
10. The Shite wears a precious mask and a traditional brocade costume.
13. The ha section is subdivided into its own introduction, development and climax.
14. A rhythmic Kuse dance is performed as the third part of the ha. The play then ends with a lively dance.
16. Masks play an important part in Noh Theatre.
24. Scenery like objects are used on the Noh stage.
26. Scenery like objects are used to represent a mountain, a mound, a group of trees, a small shrine, a thatched hut, a cart or wagon, a boat, a well.
29. A platform is used to depict a throne, a dance stage or a bridge.
31. Hand props include: straw hats, umbrellas, fans, Buddhist rosaries, mirrors, letters, swords, daggers, drums and incense.
32. An enclosed rame is used on stage to allow actors to appear or disappear suddenly.
35. The hayashi orchestra is a four-beat "shibyoshi" orchestra, referring to a flute, a small hand drum, a large hand drum and a floor drum.
38. The present style of stage is a copy of a theatre built by the Shogyn in Edo Castle during the Tokugawa Period.
41. Performances are presented with Nature providing the lighting and sound effects.
44. The acting area is a made up of four sections: the main stage, the upstage area, the porch-like area stage left and the bridge like structure leading off at an angle on stage right.
47. The main stage protrudes out into the audience and is supported by four wooden pillars.
55. The only scenery is the back wall on which is painted a pine tree.
58. The side wall is decorated with paintings of young bamboo trees.
60. The chorus and stage assistants enter and leave through this small sliding door.
62. The performer must gauge his acting to be effective not only in heigh and width, but also in depth.
70. The shite-bashira is the actor's home base.
80. Acting on the hashi-gakari is always performed behind one or other of the pine trees. This they are very important guideposts in the staging of a Noh play.
84. The speed and rhythm of raising the curtain determine the mood and set the scene in the imagination of audience and performers.
87. In the past an official in charge of the shrine would enter the stage by these steps to announce the play.
- 88) Servants of generals would use these steps to convey gifts.
96. Music is made up of three elements - vocal: woodwind and percussion.
97. Concrete cones with sand in the bottom are used to create the special effect of the dancers' stamping feet.
99. Nohis is highly stylized masked music drama centred around dance as its main element.
101. All aspects are severely simplified and refined to the highest possible degree, resulting in a single concentrated effect.
104. Wake roles fall into three distinct categories - ministers, priests, common ment. The Wake is always human and never a ghost, demon god or woman.
105. The Waki does not wear makeup or mask.
106. The Shite portrays all imaginable characters including old men, gods, mighty warriors, women, ghosts and animals.
107. The actor's mask will depict thinness, disappointment, advanced age and blindness. If the character is healthy and middle-aged the Shite wears no mask.
108. When no mask is used the face is kept immobile and expressionless.
109. Humanity is concealed to reveal the pure poetic form through body and movement.
110. Noh Dance is a closed, controlled, sedate dance of the soul, closely related to the stage it is danced upon.
9. The role of the chorus is to chant the lines of the main performer in a falsetto pitch while he performs a dance.
10. The Shite wears a precious mask and a traditional brocade costume.
13. The ha section is subdivided into its own introduction, development and climax.
14. A rhythmic Kuse dance is performed as the third part of the ha. The play then ends with a lively dance.
16. Masks play an important part in Noh Theatre.
24. Scenery like objects are used on the Noh stage.
26. Scenery like objects are used to represent a mountain, a mound, a group of trees, a small shrine, a thatched hut, a cart or wagon, a boat, a well.
29. A platform is used to depict a throne, a dance stage or a bridge.
31. Hand props include: straw hats, umbrellas, fans, Buddhist rosaries, mirrors, letters, swords, daggers, drums and incense.
32. An enclosed rame is used on stage to allow actors to appear or disappear suddenly.
35. The hayashi orchestra is a four-beat "shibyoshi" orchestra, referring to a flute, a small hand drum, a large hand drum and a floor drum.
38. The present style of stage is a copy of a theatre built by the Shogyn in Edo Castle during the Tokugawa Period.
41. Performances are presented with Nature providing the lighting and sound effects.
44. The acting area is a made up of four sections: the main stage, the upstage area, the porch-like area stage left and the bridge like structure leading off at an angle on stage right.
47. The main stage protrudes out into the audience and is supported by four wooden pillars.
55. The only scenery is the back wall on which is painted a pine tree.
58. The side wall is decorated with paintings of young bamboo trees.
60. The chorus and stage assistants enter and leave through this small sliding door.
62. The performer must gauge his acting to be effective not only in heigh and width, but also in depth.
70. The shite-bashira is the actor's home base.
80. Acting on the hashi-gakari is always performed behind one or other of the pine trees. This they are very important guideposts in the staging of a Noh play.
84. The speed and rhythm of raising the curtain determine the mood and set the scene in the imagination of audience and performers.
87. In the past an official in charge of the shrine would enter the stage by these steps to announce the play.
- 88) Servants of generals would use these steps to convey gifts.
96. Music is made up of three elements - vocal: woodwind and percussion.
97. Concrete cones with sand in the bottom are used to create the special effect of the dancers' stamping feet.
99. Nohis is highly stylized masked music drama centred around dance as its main element.
101. All aspects are severely simplified and refined to the highest possible degree, resulting in a single concentrated effect.
104. Wake roles fall into three distinct categories - ministers, priests, common ment. The Wake is always human and never a ghost, demon god or woman.
105. The Waki does not wear makeup or mask.
106. The Shite portrays all imaginable characters including old men, gods, mighty warriors, women, ghosts and animals.
107. The actor's mask will depict thinness, disappointment, advanced age and blindness. If the character is healthy and middle-aged the Shite wears no mask.
108. When no mask is used the face is kept immobile and expressionless.
109. Humanity is concealed to reveal the pure poetic form through body and movement.
110. Noh Dance is a closed, controlled, sedate dance of the soul, closely related to the stage it is danced upon.
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