K.L Paulinte 50 Kadhakal

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a b c d Cheris Kramarae; Dale Spender (2004). Routledge International Encyclopedia of Women: Global Women's Issues and Knowledge. Routledge. pp.295–296. ISBN 978-1-135-96315-6.

Phillip Zarrilli (2000), Kathakali Dance-Drama: Where Gods and Demons Come to Play, Taylor & Francis, ISBN 978-0-203-19766-0A typical Kathakali training centre auditions for students, examining health and physical fitness necessary for the aerobic and active stage performance, the body flexibility, sense of rhythm and an interview to gauge how sincere the student is in performance arts. [70] A typical course work in Kathakali emphasizes physical conditioning and daily exercises, [71] yoga and body massage to tone the muscles and sculpt the growing body, [72] along with studies and dance practice. [70] Per ancient Indian tradition, young students continue to start their year by giving symbolic gifts to the guru, such as a few coins with betel leaves, while the teacher gives the student a loincloth, a welcome and blessings. [70] Richard Schechner; Willa Appel (25 May 1990). By Means of Performance: Intercultural Studies of Theatre and Ritual. Cambridge University Press. pp.131–132, 142–143. ISBN 978-1-316-58330-2. a b c Phillip B. Zarrilli (2000). Kathakali Dance-drama: Where Gods and Demons Come to Play. Routledge. pp. 22–25, 191. ISBN 978-0-415-13109-4. a b c Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993). Indian Theatre: Traditions of Performance. Motilal Banarsidass. pp.320–321. ISBN 978-81-208-0981-9.

Richard Schechner (2010). Between Theater and Anthropology. University of Pennsylvania Press. pp.17–18. ISBN 978-0-8122-0092-8. The traditional plays were long, many written to be performed all night, some such as those based on the Ramayana and the Mahabharata written to be performed for many sequential nights. However, others such as the Prahlada Charitham have been composed so that they can be performed within four hours. [59] Modern productions have extracted parts of these legendary plays, to be typically performed within 3 to 4 hours. [60] Offshoots and modern adaptations [ edit ] Elizabeth Wichmann (1991). Listening to Theatre: The Aural Dimension of Beijing Opera. University of Hawaii Press. pp.1–5. ISBN 978-0-8248-1221-8.Richard Schechner (2010). Between Theater and Anthropology. University of Pennsylvania Press. pp.213–218. ISBN 978-0-8122-0092-8.