365bet娱乐

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assistants and used several times during the course of a performance to
manage the entries and exits of the characters and to monitor the time
and space. On the bare and natural 鈥榮tage', just a floor-area or a platform
stage, used for the traditional plays, the change of locale and time is
managed by the use of tira艣艣ila. Thus the time and space are treated
non-realistically and metaphysically.
The tira艣艣ila device in Kathakali has been greatly cultivated
and formalised. It is used to usher in certain types of characters, generally
royal aggressive and the ferocious, such as Han没m膩n, R膩va峁嘺, B膩li and
Duryodhana.
ACTOR-AUDIENCE RELATIONSHIP
Intimacy between the actors and audience is a factor, which
vitally determines the nature of the Indian traditional theatre making it a
participative theatre. Intimacy is achieved through many devices and
conventions. Traditional theatre is predominantly an audience-conscious
theatre. In case of the social and secular theatre, a performance is a
community activity and the audience is deeply involved in it. For
example in Mutiyettu one can see this relationship very well. In the
battle between K膩岣穒 and D膩rika the spectators will encourage them by
standing on both sides and the performance of the comic character K奴岣穒
is fully appreciated if at all the audience is also active. In K奴峁璱y膩峁�峁璷m
and Kathaka岣穒 for the character like ni峁嘺m etc. also, audience's support
and co-operation are needed.