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|Title:||Kutiyattam and Noh: commonalities and divergences|
|Publisher:||Sangeet Natak Akademi, New Delhi|
|Abstract:||This paper tries to focus on some common points and divergences between two great theatrics traditions of Asia Kutiyattam the traditional Sanskrit theatre surviving in India and Noh the classical theatre of Japan. Kutiyattam is believed to have an antiquity of over 2000 years though exact evidence of its stage production is available only from the tenth century. Noh with its sequel the comic Kyogen seems to have evolved from proto dramatic forms like Sarugaku until it was reformed and refined by Kan'ami and Zeami in the 15th century. In a comparative study of Kutiyattam and Noh both are highly codified evolved forms of theatre which exploit themes from the mythical stories and classics of their respective regions. Japanese, Indian or Chinese originated independently and developed their own codes of aesthetic theory and dramatic practice. Kutiyattam and Noh primarily centre round the enactment of poetry. Kutiyattam includes the celebrated Sanskrit plays of Bhasa, Kalidasa, Harsha and Shaktibhadra, Noh dramatists drew the plots of their plays from a wide variety of mythical and legendary material, and classical Japanese and Chinese literature-the Isc Monogatari (Tales of Ise) Yamato Monogatari (Tales of Yamato) Gcmpei Seisuiki Taiheiki (Tale of Great Peace) Soga Monogetsri (Tale of the Soga Brothers) and the tale of Genji and the tale of the Heike.|
|Appears in Collections:||No.099 [January- March 1991]|
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|JSNA(99)35-42.pdf||January- March 1991||2.46 MB||Adobe PDF||View/Open|
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