Bennington College

Kaṭṭaikkūttu’s Performance Spaces

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dc.contributor.author de Bruin, Hanne M.
dc.contributor.author Rees, Sue
dc.date.accessioned 2021-10-19T16:57:42Z
dc.date.available 2021-10-19T16:57:42Z
dc.date.issued 2021-05-24
dc.identifier.citation Hanne M. de Bruin & Sue Rees (2020) Kaṭṭaikkūttu’s Performance Spaces, Performance Research, 25:6-7, 89-107, DOI: 10.1080/13528165.2020.1903708 en_US
dc.identifier.uri http://hdl.handle.net/11209/15488
dc.description.abstract Kaṭṭaikkūttu performances can be seen as examples of complex interweaving at different levels, including the use of multiple media, the ways in which the persona of an actor ‘interweaves’ or coincides with that of the character he embodies (to the extent that the division between self and acted other and between real and play at times becomes thin, and the way in which the substance of the location impacts on the medium of performance. Overnight performances are literally grounded in the soil of the village (ūr) or colony, a physical and emotional condition that contributes not only to defining locality, community and personhood within a Tamil cultural context but also to flowing over and interweaving with the substance of performance in that particular location and space. When Kaṭṭaikkūttu is taken out of its rural, overnight context and transplanted onto an urban (proscenium) stage for audiences unfamiliar with the theatre’s actual and dramatic language, this results in a certain degree of distancing of performers, medium and spectators and, consequently, diminishes the spectators’ ownership of the performance. The specific constellation of Karnatic Kaṭṭaikkūttu’s performance spaces, in particular those with racked seating, reduced the proximity of performers and spectators and the possibility for their interaction. en_US
dc.language.iso en en_US
dc.title Kaṭṭaikkūttu’s Performance Spaces en_US
dc.type Article en_US


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