Kattaikoothu

Kattaikkuttu Sangam theatre is a vital piece of the theoretical Tamil social heritage. Kattaikkuttu is a rural theatre structure from Tamil Nadu. It is frequently conflated with terukkuttu, yet the two structures are determinedly unique. While kattaikkuttu is a multi-artiste, the entire night execution is made essentially for diversion; terukkuttu is important for a strict road custom performed by two men to pay tribute to the goddess Mariamman. The word kuttu – normal to both – implies theatre, teru implies road, and kattai alludes to the intricate headgear and shoulder trimmings worn by the fundamental artistes.

History

As indicated by theatre researcher Hanne M de Bruin, the historical backdrop of Kattaikkuttu Sangam is something like 200 years of age. Yet, it has numerous unmistakable components from the Sanskrit text Natyashastra, like tuning instruments, melodic conjuring, invocatory melodies to different gods, comic components, elaborate cosmetics and ensembles; one might surmise that its starting points return further. Such components are prominent in other people’s theatre types of South India, such as Kathakali, Yakshagana, and Koodiyattam.

A customary Kattaikkuttu piece involves a presentation by a group of 12-15 (The performers – by tradition only men) establishing episodes from the Sanskrit sagas and the Puranas. The entertainers act, sing and move and are joined by a three-part ensemble. The artists play the harmonium that gives the robot a mirukantam/mridangam and dholak for percussion, and a mukavinai, an oboe-like breeze instrument. The hand signals and footwork are straightforward and tedious, interspersed with energetic spinning, and the exchange conveyance is clear. It is intended to draw in crowds sitting on three sides of an outdoor theatre. The speciality is normally passed down inside the family and local area, yet new students may likewise be drafted into the overlap.

How it’s done (The performers – by tradition only men)

A significant component of Kattaikkuttu Sangam is the personality of the Kattiyakkaran, who is the messenger, the jokester, and a Sutradhar – at the same time. The Kattiyakkaran rides and associates the universes between the heavenly and the human, joining the customary account with social analysis.

Moving continually between his jobs as a messenger, gatekeeper of the court, comedian artist, and stage administrator, the Kattiyakkaran is the paste that holds together a normal execution. This centrality is completely obvious in the interpretation. And keeping in mind that the subtleties of the Kattiyakkaran’s comic jokes and semantic byplay are difficult to catch completely on paper, there is a good feeling of his frequently crude, ordinary humour and ad-libbed collaborations with the crowd to show how to open these exhibitions are in the setting.

A less apparent part of this performance centre structure is the question of position. De Bruin says that kattaikkuttu structures a piece of the town’s social construction. “The inclusion in its custom of ranks like vannars (washermen) and pantarams (blossom garlanders) appears to have outgrown their specific situation inside the town order and the ceremonial commitments coming about because of it.” There is an apparent divide between the performers and the engaged.

Out of the box

Collaborations in performing arts are not new, and performing artists are meeting up to make new structures and syntheses. Yet, the value of Carnatic Kattaikkuttu lies in pushing the limits of craftsmanship, yet those obstinate lines of position and orientation.

While the Kattaikkuttu Sangam has driven the way via preparing female artists in craftsmanship previously illegal to them, the joint effort deletes the vertical lines that have partitioned society and old-style artists throughout the long term. It stretches the limits further by assembling in front of an audience two kinds, which have, up to this point, remained on the far edges of the creative range.

Conclusion

Kattaikkuttu (or terukkuttu) is a rural theatre, a rich, complicated, strong type of all-out performance centre stressing the chivalrous. Customarily, Kattaikkuttu was the right of male entertainers who played both male and female characters; all the more, as of late, ladies have been presented in Kattaikkuttu. Exhibitions centre around episodes from the Maha\bha\rata and a few Purana stories deciphered inside a nearby, social, and strict setting. These bigger-than-life characters show explicit, gallant stage conduct. Enhanced with staggering ensembles and cover-like cosmetics, they enter the ground-level execution region behind a hand-held shade utilising a set daily schedule of melodies and exceptionally empowered developments that assist an entertainer artist with progressing into their job.

Kattaikkuttu is incredibly famous and does not need rescue by upper-rank well wishers or researchers. All-night exhibitions as a component of neighbourhood Hindu town celebrations draw enormous crowds.