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Essay name: Hastalaksanadipika a critical edition and study

Author: E. K. Sudha
Affiliation: Government Sanskrit College (Tripunithura) / Department of Sanskrit

This is an English study on the Hastalaksanadipika—a manual depicting the Mudras (gestures) of the Kerala theatre. It is a very popular text supposedly dating to the 10th century A.D. This study also touches the subject of Krsnanattam, Kathakali and Kutiyattam—some of India's oldest theatrical traditions in Kerala.

Chapter 1 - Introduction

Page:

10 (of 32)


External source: Shodhganga (Repository of Indian theses)


Download the PDF file of the original publication


Copyright (license):

Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0)


Warning! Page nr. 10 has not been proofread.

music and the choreographic structures of the performance are interdependent and fully integrated. CONVENTIONS OF SPEECH The practice in the traditional theatre is guided by a set of conventions and the nature of stylisation. These conventions and the scheme of stylisation are determined by the staging conditions of the plays and dramatic values of the traditional theatre. There is a whole set of conventions determining the nature and the delivery of dramatic speech. Repetition, superimposition, simultaneous speaking and alternation of the speech between the character and the chorus are some of the devices of the speech delivery. The alternation between the singing of the chorus and the actor-dancer singing his lines or presenting a drama sequence is recitation, mime and dancing. There is the alternation of the prose and the verse dialogues and sometimes more than one language is used in dramatic dialogues. There are impromptu prose-dialogues having the nature of the secondary spoken word, elaborating the content of the song dialogues. The dialogues are often treated as comments and spoken or sung by a chorus. There are soliloquies, semi-soliloquies, and monologues. The speech treated through many conventions and presented as chanting, singing and rhythmic prose extends the range of the theatre and lives beyond the words. In the scheme of dramatic speech the use of chorus in most of the forms of Tamasa and Terukkuttu and the temple-based forms, like 10

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