Theatre Design & Technology - Winter 2013 - 63

costume detaIls

Sets of brass bells tied to the shins sound in concert with the
performer's foot movements. The male version, kecchamani, is
oval, with deeper sounding bells, set below the knee and tied above
and below the fullest part of the calf muscle. This set has a dozen
brass bells on each; the bells are set in curved rows of three, four,
and five bells and are anchored to the upper egg-shaped leather
piece by metal split brads. The sharp tines of the brads are covered
with a layer of padding. Two sturdy cotton ties are threaded through
the leather top and out the sides of the backing. The female version,
chilanka, has lighter, higher sounding, and more numerous bells
(thirty-four in all) worn at the ankle. These are set onto straight leather bands, also with split metal brads which are covered on the inside
with a padded cloth that also encases the continuous cotton tie.

On the next few pages are descriptions of the costume pieces worn in performances by veteran Kathakali actor Bhasi Puligari. He wore the paccha costume portraying the character Yamaduta in Butler University's production of
the Sanskrit play The Priest and the Prostitute. The strivesham (female)
costume was worn for the demoness character Poothana in a showcase
performance of Poothanamoksham, also at Butler University. The costume
pieces are grouped by type and body placement and listed in approximate
dressing order. The drawing on the opposite page is also labeled with the
names of the costume pieces.
Costume pieces and ornaments are generally designed to be adjustable in fit. The costumes are cut amply to allow freedom of movement for any performer, and the ornaments, in addition to fulfilling
a visual function, are used to tie the costumes in place on the body.
These items are typical in form, function, and consistency of use,
although there is some variation in details.
n

undergarments
* Pants
Pyjama, white, light-weight cotton pants, are loose fitting with a
long drawstring at the waist and a high rise. They are cut like most
early trouser forms with the side on a lengthwise fold, angled center
seams, and rectangular inset/gusset. In addition to providing absorbency and modesty, the high waist protects the skin from chafing by
the stiff petticoats, and their wide gusset allows freedom of movement in the wide, low stances that are common to Kathakali. The
legs are tapered to about twelve inches at the ankle, with a short
inseam split, and are folded and wrapped snug to the ankle, then
held in place by small padded supports and the bells, which are tied
to the leg over the trouser. [Editor's note: patterns for these pants
are available on the TD&T website at tdt.usitt.org/Patterns.pdf.]

Tantappatippu,
to secure
pyjama to
ankle.

Chilanka, the
strivesham's (female)
ankle bells.

* Support structure
Chanthi are a pair of hip pads that support the width of the skirts
like a pannier. The pads are made of two crescent shaped pieces of
heavy cotton bagged out on the outer curve, with the inner curve
sewn to a two-inch-wide twill tape, which sits flat to the body. The
points of the two crescents meet center back and leave a little space
center front. They sit low on the hips in order to leave room for
the volume of petticoats, underskirt, and skirts, all of which are
wrapped to the body.
Ulluval, or ullunhari if sewn together, are
a series of two to four
dozen panels of stiff cloth
(val) that are tied on as
petticoats Originally made
of coconut fibers, they
Chanthi, hip pads.

* Leg ornaments
Tantappatippu, small crescent-shaped shin pads, are worn by
men and women to hold the pants snug against the leg at the ankle,
to prevent the bell ornaments in female costumes from sliding down onto the foot, and
for decoration. The men's pads are of thick
red wool with a blue cotton center stripe and
tips, two strands of small silver beads flanking
the blue, and black cotton twill tape sewn on
as both backing and ties. The pads are stuffed
with coconut husk fibers. The female pads are
red wool with black cotton tips and center instead of blue, similar silver beads, and natural
colored twill ties.
Detail of kecchamani bells.
w i n t e r 2013

theatre design

& technology

http://tdt.usitt.org/Patterns.pdf

Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 2013