Theatre Design & Technology - Winter 2013 - 61

Kathakali performance in Kerala, India. Photo by Kunju Vasudevan.

passionate, heroic but aggressive, and tamasik =demonic, rude, evil). These broad character groups are then
divided into seven types which share colors and styles of
makeup (paccha/green, payuppu/ripe, katti/knife, thadi/
bearded, kari/black, minukku/shining, and theppu/
special). Within each group there are variations for different characters and situations, but the primary pattern,
color scheme, and headdress usually remain consistent.
In practice there are also subtle adjustments of line weight
and shape as the patterns are mapped onto the individual's
facial features. Colors hold symbolic meaning, as do many
of the features. [See tdt.usitt.org/Makeup.pdf] This visual
language informs the audience of each character's nature.
The importance of makeup and costume is indicated in
the level of transformation from performer to character;
several sources report that once a performer is in makeup
and costume, he is no longer addressed by his own name
(Iyer 53, Singha 101, Pandeya 133).

costumes

and eye movements. These performance aspects are developed through
years of intensive training. Scholars refer to four separate dramatic elements of Kathakali. Aharyabhinaya refers to the decorative elements of
the play, particularly costume, makeup, and accessories. The others are
Vacikabhinaya (speeches and songs), Angikabhinaya (dance, body position, mudras/hand gestures, eye movements, etc.) and Satvikabhinaya
(the expression of psychic states associated with emotions) (Iyer 1955,
42). Costumes and makeup are an important element of Kathakali, as they
identify characters, bring focus to expressive areas of the body, create an
other-worldliness appropriate to the characters and stories, and provide
extravagant spectacle against a minimal set.
Midcentury and recent scholarship provides a wealth of information
on various aspects of Kathakali. Authors Bharatha Iyer and Avinash Pandeya provide the best details of makeup and costume, including Pandeya's
history and symbology. Recent commentary on the complexity and subtlety
of characters beyond codified makeup types is provided by Phillip Zarilli.
Most sources identify makeup types and give at least a basic description
of the facial appearance. Several sources also describe costume types in
general for each character type. However, current literature is limited in
clearly documenting costume details for design and reproduction. This
paper begins to fill that gap by presenting documentation of specific authentic costume pieces worn by a female strivesham and a male paccha
character. [Editor's note: a presentation by the author at the 2012 USITT
Conference & Stage Expo provided additional pictures, details, and dimensions. Some of this information, not included here due to space restrictions, is available on the TD&T website at tdt.usitt.org/Bibliography.pdf,
tdt.usitt.org/Glossary.pdf, and tdt.usitt.org/Makeup.pdf.]

characters
Characters in Kathakali are divided by emotional capacity and defined
by corresponding makeup types. They are grouped first by a few broadly differentiated types (satvik = heroic, pious, and virtuous, rajasik=

Kathakali characters' costumes have the same basic silhouette and components. Most characters, both male and
female, wear huge hemispherical layered skirts (usually white with border
stripes), one or more layered jackets (most commonly red), and a series of
ornate accessories. These include four items on each arm, bells and pads
on the lower legs, a carved breastplate and cascade of gold necklaces, and
two or more waist ornaments of fabric, beads, and carved, decorated wood.
Further layers include between two and six lengths of pleated fabric at the
neck and ornate contrasting side panels from waist to hem. All performers have some form of headdress-relatively simple for minukku, but extravagantly ornamented for gods and demons. There are variations in color,
headdress, and some accessories for different characters and some types.
In scale, the most demonic characters have the most volume, while human
characters are closer to realistic size of dress. All costumes feature bright
colors, and strong contrasts, which helps them be more visible in the traditionally limited lighting of nighttime performances. Also, the exaggeration in
the costumes' designs supports the dramatic storytelling, The forms, colors,
and accessories for each character are standard, so that each presentation
of the character is visually recognizable. The similarity is clear to new audiences; it takes time and experience to learn the various subtle differences
between characters. Pandeya provides a detailed opinion of the development and symbolism of costume pieces (Pandeya 1943, 109-112).
From a novice's Western theatrical perspective, there is much to
learn about the details of costume and makeup. Kathakali aficionados
delight in reviewing the subtleties of movement, expression, and personality of accomplished performers. Whether traditionally crafted or contemporary in construction, Kathakali costumes are incredibly effective in
bringing attention to those attributes. From the basic similarities in shape,
color, and ornament of all costumes to the intricacies of makeup, headdress, and details of specific characters, all visual choices are effective in
supporting the performance. They bring attention to the actor's eyes and
facial expressions, they emphasize movements of body, hands, and feet,
and they reinforce percussive sounds of the dance. It's a beautiful marriage of form and function.

w i n t e r 2013

theatre design

& technology

http://tdt.usitt.org/Makeup.pdf http://tdt.usitt.org/Bibliography.pdf http://tdt.usitt.org/Glossary.pdf http://tdt.usitt.org/Makeup.pdf

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