Chettiarthodi Rajendran

Celebrating Violence

Introduction

Celebrating violence . Explores depictions of violence and death in classical Sanskrit drama, particularly Kūṭiyāṭṭam. Examines semiotics, Nāṭyaśāstra's view, and other Kerala performing arts.

Abstract

This paper is an attempt to probe into depiction of violence and death in the classical Sanskrit drama, especially in its avatar as Kūṭiyāṭṭam, a living performative tradition related to the temple theatre of Kerala. Stage depictions of terrible scenes of violence, and death as the culmination of it, will be examined here in the context of semiotics by including in its ramifications costume, colour scheme, tonal features and acting. The paper will first review the attitude of the Nāṭyaśāstra to presenting darker side of life on the stage and then turn to issues related to portrayal of violence and death in Kūṭiyāṭṭam. It will also take the opportunity to briefly touch upon other classical performative art forms, like Kathakaḷi, which are based on epic and Purāṇic themes, and are noted for their prominent portrayal of violence on stage.

Review

The paper, boldly titled "Celebrating Violence," proposes an intriguing exploration into the depiction of violence and death within classical Sanskrit drama, with a particular emphasis on Kūṭiyāṭṭam, the living temple theatre tradition of Kerala. The abstract clearly articulates the central objective: to probe how terrible scenes of violence and their culmination in death are staged. The choice of semiotics as the analytical framework, encompassing costume, colour scheme, tonal features, and acting, is well-suited for dissecting the performative aspects of these dramatic depictions, promising a nuanced understanding of how such themes are conveyed to an audience. The proposed methodology outlines a logical progression, starting with a review of the *Nāṭyaśāstra*'s stance on presenting the 'darker side of life' on stage, which provides a foundational theoretical context. This historical and prescriptive groundwork will then inform the subsequent examination of actual portrayals in Kūṭiyāṭṭam. The paper's scope is commendably broad, acknowledging its primary focus on Kūṭiyāṭṭam while also committing to briefly touch upon other classical performative art forms like Kathakaḷi. While this broader comparative approach could enrich the discussion by demonstrating commonalities or divergences in the treatment of violence across traditions, the author must ensure that the core analysis of Kūṭiyāṭṭam retains its necessary depth and rigor. Overall, this paper addresses a compelling and potentially under-explored dimension of classical Indian performing arts. The provocative title alone sets a high expectation for a critical and perhaps counter-intuitive argument about the aestheticization or narrative function of violence in these traditions. For the paper to truly deliver on its promise, it will be crucial to rigorously justify *how* violence is "celebrated" through the detailed semiotic analysis, rather than merely depicted. A strong connection between the *Nāṭyaśāstra*'s theoretical framework and the practical performance elements in Kūṭiyāṭṭam will be key to establishing the paper's significant contribution to performance studies and South Asian cultural history.

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