What is the make up requirement for the characters ‘Rama’ and ‘Ravana’ in a Kathakali performance---The Ramayana by R. K. Narayan?

Constantin Stankislavski and Uta Hagan are considered to be two greats in the art of acting. After reading the excerpts from the packet, and the chapters in the book it is really understandable as to why they are so respected in this art. When taking a look into their work there are some similarities about their craft and technique, however there are also some differences, as Utah Hagen branched out as did many others. In this paper, I’ll be taking a look at where these pioneers of their craft share similar methods, and where they differentiate in the use of their technique.

The original The Ramayana is a great epic that has stood the test of time, and has been influential yet controversial throughout history. R.K Narayan’s version has been the same; his composition of stories adds another layer to the already plentiful themes, leaving the reader satisfied with his brilliant description and insight. Through Narayan’s constant comparison that parallels Rama to a perfect specimen, he is demonstrating a “Straw Man” argument. Its effect illuminates Rama’s flaws rather than his seemingly perfect composure. Narayan consciously chooses moments at Rama’s darkest hours to transform him into the relatable human figure he was meant to become.

In the play roles and relationships were used to show the roles of each person and what their relationship towards each other was. For example when Namatjira was on stage at one time he was going side to side (moving on the spot) and changing his voice like at times he would make his voice deep sounding rough ish then h would make his voice soft ish showing us that he was playing more than one person. There was also audience participation because he was being comical with the audience like for example

Kabuki (歌舞伎) presents one of the most popular forms of traditional theatre in Japan with roots tracing back to the Edo Period. The root of the word “kabuki” presents its definition clearly as it contains three Chinese characters: “ka” means song, “bu” means dance and “ki” means prostitute. Hence kabuki is the combination of music, dance and dialogues. The inventor of kabuki is one of the dancers of Shinto temple, Okuni in 1603. Therefore kabuki used to be acted only by women till 1629. It involves elaborately designed costumes, eye-catching make-up, outlandish wigs, and arguably most importantly, the exaggerated actions performed by the actors. Its plots are usually based on historical events, warm hearted dramas, moral conflicts, love stories,

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In the Indian culture, the Hindu religion played a major role in the story of Rama. Rama was guided throughout the story by his dharma. Dharma dealt with “the correct behavior and duty based on morality, duty, custom, law, virtue, and established order” (pg 242). Rama followed this principle when he accepted his banishment instead of being crowned king based on a pledge to his father made to his step mother.

The ideological stand point here is good vs. evil. Rama and his allies are the good battling against evil. Rama had allies who understood his cause and went in

modernity came up. Both sources talked about this and both had very similar ideas. While there are many traditional aspects there are also many modern aspects in this novel. It is a battle for Rama about which side to pick or lean more towards. Rama sees this as less of a conflict and more of a privilege. She states on page 25, “It was a privilege of our generation to be the link between two periods in our history, one of domination, the other of independence. We remained young and efficient, for we were the messengers of a new design.” With being a part of a religion with such traditional values, it is hard for Rama to express freely her modern views of the world. Ramatoulaye does not allow disapproval to persuade her. She is able to remain her own person with her own

A general structure of Kebyar music is in the form of KPP. KPP is an abbreviation of Kawitan(introduction), Pengawak(the main body) and Pengecek(conclusion). This concept are said to be derived from culturally valued dimensions of “threeness” such as the concept of tri-angga (an anthropomorphism referring to the head, torso and legs), three courtyards of the Balinese temple, the tri-loka(upper, middle and lower worlds of existence) and others. Like sonata allegro, KPP is mainly associated with a restricted “classical” repertoire. (Tenzer,2000:354). McPhee describes that pengawak is essentially static in form and mood, the Pengecet is dynamically progressive, passing through successive phases of rising rhythmic tension. (McPhee,1966:83)

In Ramayana, Rama, is the human Lord Vishnu reborn to defeat Ravana (1172). “Two-thirds divine and one-third human” (100), the details that describe Gilgamesh, the king of the city Uruk. The two heroes though uses their power differently. Rama uses his for his dharma at the beginning of book 2. When is force to go to the forest, by his father King Dasaratha, exile for 14 years.

The dance-drama Kecak is not in a sense authentic to the Balinese culture. It is customary for dances to be accompanied by the instrumental music of the gamelan. The Kecak however, is set to the rhythm of a chanting chorus called a gamelan suara. The chants that go along with this performance

Rama was praised for his adherence to dharma, yet at times it seems he is not as devout as everyone claims he is. From the beginning of the novel it is clear that Rama is supposed to be a role model and the ideal human embodiment of good dharma, but Rama isn't always in the right.

Rama has many duties, including his duty to obey. Rama was treated unjustly on multiple occasions throughout the novel, yet he

In Kabuki theatre, everything that is seen on the stage is the result of a meaningful inner dynamic which completes the performance by the coordination of the actors with all the various components of the mise-en-scène and then by the traditions of all the various elements being assembled into an organic whole (Kawatake 1990, 247).

Mythology is a part of living culture of India, especially of rural India. Indian folk theatre is essential mythological in the matter of the selection of characters, themes, narrative parts, etc. Characters from myths, epics, and legends are always presented on the stage and they present a lively reality on the stage. Sanskrit theatre also uses myth and mythological narratives for the dramatic performance as in folk theatre. But there is difference Sanskrit theatre promotes the myth and legendary story form well-known epics and Puranas like Ramayana, Mahabharata, Vedas, etc. On the contrary folk theatre promotes local myths and legends on stage which are already familiar to the audience. The reason for the selection of such stories is