Intern

Lehrstuhl für Indologie

Illustrations

– all pictures have been taken by Virginie Johan –

Illustration 1 - Rāma Cākyār showing the gesture for Sīta (and for all woman characters, except Tārā),
Arta, Paris, 19.02.1998. — Rāma Cākyār showing the gesture for Sīta (and for all woman characters, except Tārā), Arta, Paris, 19.02.1998.

The Vaṭakkunāthan kuttaṃpalam in Tṛśśūr. Outside: by night, under the rain, and inside.
Bālivaddhāṅkam, Ammannūr aṭiyantara, 02.11.2009.

The tāḷam and the voice of the performance. Aparṇṇa Naṅṅyār, Ibid.

Illustration 7 - Miḻāvu of the temple. Ibid. — Miḻāvu of the temple. Ibid.

Illustration 8 - Nampyārs playing miḻāvu.
Eṭanāṭu/Kalāmaṇḍalam Nārāyaṇan Nampyār and Eṭanāṭu Rāmacandran Nampyār, Ibid. — Nampyārs playing miḻāvu. Eṭanāṭu/Kalāmaṇḍalam Nārāyaṇan Nampyār and Eṭanāṭu Rāmacandran Nampyār, Ibid.

Illustration 9 - The performance sound-space.
Ammannūr Rajaniṣ Cākyār, Eṭanāṭu/Kalāmaṇḍalam Nārāyaṇan Nampyār, Indira Naṅṅyār. — The performance sound-space. Ammannūr Rajaniṣ Cākyār, Eṭanāṭu/Kalāmaṇḍalam Nārāyaṇan Nampyār, Indira Naṅṅyār.

G. Vēṇu as Śūrpaṇakhā, covered with »blood« (niṇam), after mutilation.
Śūrpaṇakhāṅkam, Ammannūr Cāccu Cākyār Smaraka Gurukulam / Natanakairali (Iriññālakuṭa), 12.01.2003.

Illustration 12 - Combined chanting (kūṭicollal) of Hanumān (Paiṅkuḷam Nārāyaṇan Cākyār),
Sītā (Eṭanāṭu Sarōjini Naṅṅyār) and the Nampyār (Eṭanāṭu Rāmacandran Nampyār).
The naṅṅyār conventionally hides her mouth behind the cymbals.
Aṅgulīyāṅkam kūttu, kūttampalaṃ of Guruvayur, 07.12.2002. — Combined chanting (kūṭicollal) of Hanumān (Paiṅkuḷam Nārāyaṇan Cākyār), Sītā (Eṭanāṭu Sarōjini Naṅṅyār) and the Nampyār (Eṭanāṭu Rāmacandran Nampyār). The naṅṅyār conventionally hides her mouth behind the cymbals. Aṅgulīyāṅkam kūttu, kūttampalaṃ of Guruvayur, 07.12.2002.

Illustration 13 - Nampyār Tamil by Eṭanāṭu Rāmacandran Nampyār (Ibid.). — Nampyār Tamil by Eṭanāṭu Rāmacandran Nampyār (Ibid.).

Illustration 14 - Combined chanting (kūṭicollal) after »the gift of the ring« (Ibid.). — Combined chanting (kūṭicollal) after »the gift of the ring« (Ibid.).

Illustration 15 - Sītā’s uttarīyam (Ibid.). — Sītā’s uttarīyam (Ibid.).

Illustration 16 - Ammannūr Mādhava Cākyār as Rāvaṇa. Aśōkavanikāṅkam kūṭiyāṭṭam (Āśc. V),
Ammannūr Cāccu Cākyār Smaraka Gurukulam/ Natanakairali (Iriñjālakuṭa), 11.01.2001. — Ammannūr Mādhava Cākyār as Rāvaṇa. Aśōkavanikāṅkam kūṭiyāṭṭam (Āśc. V), Ammannūr Cāccu Cākyār Smaraka Gurukulam/ Natanakairali (Iriñjālakuṭa), 11.01.2001.

Illustration 17 - Illustration 17

Śrī Rāman (Sūreṣ Nampyār) undertaking a fast on the white cloth symbolizing the darbha grass.
Samudrataraṇāṅkam kūṭiyāṭṭam (Abhiṣ. IV),
Ammannūr Cāccu Cākyār Smaraka Gurukulam, Natanakairali theatre (Iriñjālakuṭa),
10.01.2006. — Illustration 17 Śrī Rāman (Sūreṣ Nampyār) undertaking a fast on the white cloth symbolizing the darbha grass. Samudrataraṇāṅkam kūṭiyāṭṭam (Abhiṣ. IV), Ammannūr Cāccu Cākyār Smaraka Gurukulam, Natanakairali theatre (Iriñjālakuṭa), 10.01.2006.

Kiṭaṅṅūr Kuṭṭapan Cākyār’s grantha for Aṅgulīyāṅkam.

Illustration 20 - Four generations of stage manuals transmitted in the Paiṅkuḷam family:
the grantha (Rāma Cākyār’s »treasure«), and the handwritten books of
Guru Paiṅkuḷam Rāma Cākyār, [Kalāmaṇḍalam] Rāma Cākyār,
and Kuṭṭañceri Saṅgīt Cākyār (disciple of Rāma Cākyār). — Four generations of stage manuals transmitted in the Paiṅkuḷam family: the grantha (Rāma Cākyār’s »treasure«), and the handwritten books of Guru Paiṅkuḷam Rāma Cākyār, [Kalāmaṇḍalam] Rāma Cākyār, and Kuṭṭañceri Saṅgīt Cākyār (disciple of Rāma Cākyār).

Illustration 21 - Kapila Vēṇu as Śakuntalā. Théâtre du Pommier, Neuchâtel, 29.09.2004. — Kapila Vēṇu as Śakuntalā. Théâtre du Pommier, Neuchâtel, 29.09.2004.