South Indian Shadow Puppet Theatre

The tradition
Shadow puppets are flat figures. They are cut out of leather, which has been
treated to make it translucent. Shadow puppets are pressed against the screen
with a strong source of light behind it. The manipulation between the light
and the screen makes silhouette or colour shadow and the viewers sit in
front of the screen.
India has a varied tradition on shadow puppets. Although written records
are scarce, it is clear that by the time of the composition of the Ramayana
and the Mahabharata, there was a form of theatrical performance, known as
the Chhaya Nataka.
The traditional shadow puppet theatre is chiefly concentrated in the States
of Karnataka, Andhra Pradesh, Kerala, TamilNadu, Maharashtra and Orissa.
The typical form from Karnataka is Togalugombeatta. It is associated with
the Killekyata community.The Andhra shadow puppet theatre is
Tolubommalattam. The highly sophisticated form of the shadow puppet
theatre from Kerala is Tolpavakoothu. It is performed annually at the
Bhagavati or Bhadrakali temples of Palghat. The themes of the plays in
Tolpavakoothu are based on the Kamban Ramayana. Ravanchhaya is the
theatre of Orissa. The shadow puppet play called Chamdyacha Bahulye of
Maharashtra is almost on the verge of extinction.
While the Orissa, Maharashtra and Kerala shadow puppets are black in colour,
the Andhra and Karnataka puppets are multi coloured and are bigger in size.
Ravanachhaya puppets have no joints.
The shadow puppets were made of deer skin, in the earlier days. The figures
are drawn on the skin, cut out and embellished with dots, lines and holes.
Puppets are painted in different colours. To prevent the puppet from bending,
a thin strip of smoothened bamboo is fastened vertically along the middle on
either side. The arms of the puppet are provided with movable joints. The
technique of mural painting is used for painting the puppets.
The puppeteers manipulate their leather puppets in a particular way. With
one hand they hold the puppet by the lower end of the bamboo strip fastened
to the puppet, and with a stick on the other hand they make the puppet
perform the required movements.

The workshop
The workshop on shadow puppet theatre aims at bringing together the
traditional shadow puppeteers and the contemporary puppeteers. It would
be an experiment to explore the possibilities of transformation of traditional
puppetry and contemporary puppetry.
The main objective of the workshop would be a production of a modern puppet
play conceived from the famous Tamil novel Nitya Kanni written by
M.V. Venkatram. This would be a play with traditional elements of puppet
making and modern theatre aspects. The workshop aims at bringing together
the creative elements of writer, puppeteers and also theatre personalities.
This is an experiment to transform the traditional values in to the modern
puppet theatre scenario to enhance the aesthetic level of the puppet play
production.

The performance
A minor tale from the epic Mahabaratham made into a novel Nitya Kanni by
prominent Tamil Novelist and short story writer late M.V. Venkatram. The
story of Nitya Kani revolves around the protagonist Madavi, daughter of
King Yayathi. Madavi is gifted with a unique boon, where she regains her
bodily virginity, even after child birth. Is this situation of Madavi, a burden
or a blessing?

Our Artistes
Shri. K.K RAMACHANDRA PULAVAR
Ramachandra Pulavar belongs to the Koonathara tradition of Tolpavakoothu.
His father, Late K.L Krishnankutty Pulavar was awarded the Sangeet Natak
Akademi award for puppetry. Ramachandra Pulavar began his training in
the Ramayana, the Puranas, Ithihasas, Shastras, Astrology, Ayurveda, Temple
architecture, mastering the koothu songs, text interpretations, puppet making
and manipulation from his father since childhood. Since 1979, he has
participated in many puppet festivals in India and abroad. He is currently a
senior research fellow with the Sangeet Natak Akademi.

Shri. S. CHITHAMBARA RAO

Chithambara Rao is a tradtional puppeteer from Andhra Pradesh and National Award winner for puppetry. He is the
Director of Chaya Nataka Brundam, at Dharmavaram. He comes from a long line of traditional Andhra Shadow Puppet
theatre performances. He has performed in various places in India and abroad.

Shri. V. AJITHKUMAR
V. Ajithkumar is a contemporary puppeteer from Kerala.He has started his career as a puppeteer since 1993. He established
his own puppet theatre- Natyadarsana Puppet Theatre at Calicut in 2000. He has written and directed four innovative
puppet plays with stylized puppets and modern theatre techniques. He is the editor-in charge of a quarterly for puppetry,
theatre and folk arts titled Puppet published from Calicut. Now he is an artiste in residence at NFSC.

Exhibition cum sale

An exhibition of leather shadow puppets will be held in the art gallery at National Folklore Support centre, Chennai from
August 22nd to 29th, 2005 from 11 am to 5 pm.

Workshop Schedule
Date : 22-29 August, 2005

V
enue : National Folklore Support Centre, Chennai
Venue

T
ime : 10.00 am to 5.00 pm
Time

Aug 22

Aug 25

Inaugural ceremony
Introduction and Demonstration of Leather shadow
puppetry
Interaction with shadow puppetry artistes
Manipulation Techniques of leather puppets
Story telling in traditional shadow puppetry
Video Screening: Kambaramayana in Tolpavakoothu

Construction: Cut out of heads, body, legs and hands

Construction contd
Finalising skeletons of puppets
Fixing the body parts according to the anatomy and with
possible movements
Video screening, Shadow play by Puppet Lab, Scotland

Aug 23

Painting methods
Mural painting of Kerala and way of painting the puppet
Painting the puppets

Discussion on script: Human theatre and Puppet

theatre
Discussion on M.V. Venkatrams Nitya Kanni
Making one-line for the puppet play
Construction of puppets begins
Sketches for puppets
Video screening: A documentary about the puppet
theatre of Kerala

Aug 24
Script writing workshop
Finalising the script
Discussion on transforming traditional elements to a
modern play with reference to the script
Construction of puppets contd
Video screening: Wayang, shadow puppet play of
Indonesia

Aug 26

Aug 27
Fixing the rod, Finalising puppets
Devices can be used in puppet play, new technology,
lighting, music etc
Voice modulation/story telling
Manipulation training with puppets made by
participants

Aug 29
Finalising the production
Rehearsal
Performance
Valedictory function

Bibliography
G. Venu, 1990, Tolpavakoothu-shadow puppets of Kerala, Sangeet Natak akademi
G. Venu, Puppetry and lesser known dance traditions of Kerala, Natanakairali
Blackburn, Stuart, 1996, Rama stories and shadow puppets, Oxford University Press
Rao, M.S. Nanjunda, 2000, Leather puppetry in Karnataka, Karnataka Chithrakala Parishath
Pani, Jiwan, Ravana Chhaya, sangeet Natak Akademi
Sarma, M. Nagabhushana, 1985, Tolubommalata, sangeet natak Akademi, New Delhi
Pani, Jiwan, Living dolls story of Indian puppetry, Publication division

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Chennai dedicated to the promotion of Indian folklore research, education, training, networking and
publications. The aim is to integrate scholarship with activism, aesthetic appreciation with community
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advocacy with public programming events. NFSC aims to achieve its goals through cooperative and experimental activities
at various levels. NFSC is supported by a grant from the Ford Foundation.

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