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factors in building up its distinctive character. The play is really sung
and danced and spoken and enacted.
Music is the very dynamics of the traditional theatre and it
determines the space, the rhythm and movement of the drama. It grows
from within the drama and is functional and organic. It accompanies the
actor's entries and exits and helps in accentuating his gestures and
movements. For example, in Kathaka岣穒, in the story of Narak膩suravadha,
the s峁沶g膩ra of the celestial damsels (apsaras) and their kummi (a special
type of dance) are described. This creates an atmosphere of easiness and
happiness. But the next is the purapp膩岣島 of Nakratun岣峣. The music is
changed and hence the atmosphere. Many instances like this can be seen
in Kathaka岣穒, Ku峁璱y膩峁�峁璷m and other performing arts. Music is highly
stylised in Kathaka岣穒 and Yak峁�ag膩na. The drum is predominantly used in
the traditional theatre and has great acoustic and dramatic value. The
orchestra plays in union with the vocal line and repeats the melodic phrase
giving relief to the actor to present choreographic patterns and enrich his
gestures by an elaborate interpretation of the text.
With dance-like movements, striking poses and codified
gestures the play builds spectacle of choreographic beauty and pictorial
charm. In the temple-based drama the dance content is very rich and highly
developed, but in secular forms like Khyal and Terukuttu it is rather then,
just enough to sustain the choreographic character of the play. The