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Yakshagana

Talamaddale
Dr.M.PrabhakaraJoshy

Introduction
ThePrasangatext
TheMusicaltext
TheVerbalText

ATalamaddaleperfomance

Introduction:
Avariationofyakshaganatheatre,Talamaddaleisnotawellknownartformoutsidecoastalkarnataka.
It is called Koota (gathering) as against the costumed performance ata (play). It is also called Baithak
(sitting),prasanga(episode),odike(reading)andJagara(keepawake).Toputitsimply,Talamaddaleis
a Yakshagana minus dance,,costume and stage conventions. It has features which are a combination
of puranapravachana (discourse), harikatha and Yakshagana. While the Yakshagana ata has speech,
dance and costume and the ballet has dance and costume, talamaddale has only the spoken word.
Musiciscommontoallforms.

ThewordTalamaddaleisderivedfromthewordtala(Cymbal)andMaddale(thedrum).Thissuggests
thatitwasbasicallyasingingtraditionwiththespokenwordaddedtoitlater.Ifwearetoacceptthat

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Yakshaganaisalsoisoriginally the name of the composition type, (Yaksha = Worship Gana = lyrics),
TalamaddalecouldhaveexistedpriortoYakshaganawithcostume.Telugu works on prosody mention
Yakshagana as a composition meant for temple service. Later, there was the inclusion of short
explanatorywordsbythesingerhimselfandpossiblystilllater,theverbalpartwastakenupbyartistes
and presented as "drama". A more popular theory is that Talamaddale developed as a rehearsal
(withouttheuseofcostume)ofYakshagana,especiallyduringtherainyseason.

Dakshina Kannada (including Kasargod), Uttara Kannada, parts of Shimoga, Hassan ,Coorg and
Chikmagalur districts constitute the area from which this artform has originated and where it still
flourishes.CoastalareasofDakshinaKannadahaveproducedthemaximumnumberofmajorartistes.
There are no stylistic schools in Talamaddale, like Tenku (Southern) and Badagu (Northern) found in
othervariationsofYakshagana.Yetthesouthernartisteshavedevelopedthespokenwordbetter.Their
presentation is elaborate and explanatory, and source materials have a richer texture in discussions,
debates and wit. The northern Talamaddale players present more dramatic performances, but ones
whicharelessrichinscholarshiportreatment.

TalamaddaleisnotaTroupe artornoraprofessionalizedart.Itisafreelanceorhobby art.Some

artistsarepaidanhonorariumperperformance.Normally,artistesareinvitedindividuallyandtheroles
are distributed just before the performance. Because of this, innovation and improvisation are
obligatory components of this art! Amateur artists belonging to particular groups perform regularly,
(fortnightly or weekly) at a particular place. They perform on invitation too. There are about one
hundred and fifty associations having over a thousand artists. The associations normally take up one
epic(sayMahabharata)andperformcontinuouslyasserials.

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SupportforTalamaddalehasbeenontheriseduringthelastthreedecades,withanexpandingmiddle
class and corresponding revival of various social and cultural organizations. The recent boom in
electronic media has not affected Yakshagana patronage so far. However, in the urban areas many
prefer a two or three hour evening performance rather than a fullnight show. Considering the very
high quality of art, the learning, the talent and effort required of the artists, Talamaddale continues to
cost very little financially. A full nights performance of the best artistes would cost three to six
thousandrupeesinclusiveofallexpensesandpublicity.

Talamaddaleperformancesareusuallyincorporatedintovarioussocial,religiousorsecularfunctions.
Communal, social, religious festivals like the anniversaries of various organizations, temple festivals,
DasaraandDeepavaliaresomeoccasionsonwhichaTalamaddaleisarranged.Itisalsoarrangedfor
itsownsake,asanentertainmentorwhatispopularlycalledaCulturalprogramme.Talamaddaleasa
religious service, the fulfillment of vow, or thanks givingservice is practiced only in association with
theworshipofGodShani(Saturn)andiscalledShaniMahatme(thenarrationofgreatdeedsofShani).
The main season of Talamaddale performances is between June and November. This is related to the
agrarianseasonalcalendari.e.theperiodbetweensowingandharvestandtheonsetofthemonsoon.
However,theperformancesareorganizedinthewinterandsummeraswell.

The enactment of Talamaddale performance proceeds thus : A Bhagavatha (Singer) and Maddalegara
and Chandegaar (Drum beaters) are seated at one end of the stage. In front of them the
Arthadaaris(Actor narrators) are seated in rows. They are informed of the roles just before the
performance. This is followed by Invocation. Then the singer takes up songs from the prasanga texts

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and sings them. The actors develop the song in dramatic prose basing their extempore lines on the
text , expanding the story and theme found in their verses.The actors normally cue or prompt the
singer to the next verse or situation to be taken up by means of ethugade (catch word ) system. The
length of each event in story, the dialogue, arguments , selection of the verses , time control and
interpretationallthesearedoneonstagebyatraditionofintricateconventionsamongtheartists.

The function of the Bhagawatha is to sing songs, conduct the performance, edit the prasanga and to
participateintheperformancerespondingtosoliloquies,asidesandtoemotions.TheBhagawathaacts
astheoutermindofcharacterswithwhichtheyconverse.Theotheraccompanyingartistestooperform
this function sometimes. The Bhagawatha is also the other roleplayer reminding the players of the
important aspects of the episode, regulating and controlling the play. An active resourceful
Bhagawatha keeps the whole show lively, interesting and constantly in focus. The Bhagawatha has to
followtheactorsclosely.EachArthadarihashisownwayofpresentationandverseprogression.This
individualmethodofethugade(catchword)requiresthesingertobealerttodramaticmovementsand
toarrangetheplot.

Technically,thereforebhagawathaisthedirectoroftheperformance.Heselectstheversesanddecides
the time segments allotted to each sequence of narration. He can intervene when he feels a particular
sceneisbeingprolongedorthatitisanunnecessarydeviationfromthetext.However,theconceptof
Bhagawathadirectionhasnowrecededgivingwaytoconsensustypeofteamworkconcept.Thisisa
significant conceptual change probably reflecting a change in our general social values a shift from
theleaderfollowertogroupconsensus.

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Talamaddale has three levels of Text. First , there is the Prasanga (episode), then, the intricately
wroughtlyriccompositionsbasedontheseepisodesinvariousmeterssettodifferenttalas(rhythms)
asamusicaltext.Ragas(musicalmodes)andTalas,donotalwaysconformtothoseprescribedinthe
text. This is the static text. Finally this text is presented by the singer on the stage as a verbal text,
evokingvariousemotions.Thusthesingerrecreatesthetextinmusicwithinthelimitsoftherulesof
Yakshaganamusic.

ThePrasangaText

ThebasicvaluesystemwhichformstheprasangatextspertainstotheageofheroismandtheBhakthi
age. So poetic expression has to show the ethos of those ages especially in a stylised art like
Yakshagana. Thus presentation and characterization involve special features, and problems too. The
playersperceptionofcharactersishisownandheisfreelyinterpreted but it is fixed simultaneously
withintheframeworkoftheprasangatext.Theactorhastobeloyaltothetextandyetsurpass it. The
prasangas have a clear Vaishnava bhagawatha bias with equal respect for other deities. The artists
read between the lines to bring new ideas. Character portrayals partly fulfill expectations by being
True to the text and partly thwart expectations by a new focus and elaboration of the texts
suggestions. Mythological characters are presented from the whole range of Indian cultural heritage
from the Vedic age up to the more recent works on Indian Mythology and culture. Hence, this art
presentsaninterestingculturalmixofthedifferentlayersoftradition,wovenintoasingleperformance,
ofteninsinglesituationorevenasingledialogue.

TheMusicalText:
TheorchestraofTalamaddaleconsistsofBhagawatha(singer)andMaddalegaraandChandegara(drum

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beaters).ThisiscommontoallformsofYakshagana.ThemusicofTalamaddalehasthreecontrolling
functions: 1. It provides a basis for the story 'sequence'. 2. It controls the dominant 'tone' of a
performanceand3.Itperformsthe'pace'ofapresentation.Eachverseissunginamodewhichreflects
the mood of the character. Maddale (Horizontal drum) and Chande (Vertical drum) are powerful
instruments specially suited for emotions like anger, joy, spiritedness and enthusiasm. Apart from
scoring music for the verses, the musicians produce effects to stress the spoken word and give the
conventionalbidthige(rhythmicbeats)foractionslikeentry,escape,fight,fall,journeyasuddenstop
etc.Yakshaganamusichasanexcellentrangeofemotionsandrichtechnicalrepertoire.Thoughthe
speechismorepopularpartofTalamaddale,withoutanableandexperiencedmusicteam,itdwindles
to a pale outline of Yakshagana. A well sung, well scored Yakshagana song followed by powerful,
dramaticspeechmakestheTalamaddaleexperiencecomplete.Thisprovidesthebasisandinspiration
to the Arthadhari (actor). The verbal text is charged with emotion introduced by the singer's tone,
emotions, notes and beating of the drums. Thus, the 'Himmela' (backgroundorchestra) gives new
meaningtothetext.

TheVerbalText:
Then the actors develop this skeleton of verbal and musical texts, using imagination, interpretation,
dramatic talent and learning, creating a drama that elevates the basic text to almost visual
dramatisation. The compositions are based mostly on medieval Kannada classics like Kumaravyasas
Bharatha,ToraveRamayana,LaxmishasJaiminibharathaetc.Buttheactorsworkintotheirenactment
parallelsinwordandsituationfromtheotherKannadaandSanskritclassicsandvariousothersources
likescriptures,plays,literature,practicallyeverythingoftheirlearningandimaginationandblendallof
them coherently into an improvised classic. Here again each artist has his independence and his

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resources are different from those of others. This creates interesting patterns of dramatic
representation. The freedom of the spoken word is the greatest strength of this art. Alternatively, it
couldturnouttobeaweakness,asitcanallowtheperformancetodrift,anddeviate.

Themusicaltextisthedynamicvariationofthewrittentextandtheverbaltextisstillmoredynamic. It
is interesting to note that the spoken word is called the artha (meaning) in Yakshagana parlance.
Talamaddaleasawholeisacontinuousattempttofindandgivemeaningtothetext,thethemeandthe
roles. It is like an extempore drama created and enacted by different artistes independently and in
combination at the same time, the prasanga composition being the loose framework holding them
together.Thusthereisanessentialcreativestructuretotheart,providingimmensescopetotheartist
and also offering challenges and expectations. The text unfolds into Talamaddale imbibing new
elements at every stage. The textperformance relation in Talamaddale could be compared to a sea
wavewhichgoesongatheringmomentumandvolumetillitdashesontotheshore.
Formerly, the meanings conveyed by the composition and the spoken word were very close. The
messageofthetextwastranslatedintoprose,andpresenteddramatically. Hence the artists merit lay
mainly in the presentational aspect and not so much in representational or creative aspect of his
rendering. But with the entry of scholarartists into the field, the verseword relation assumed new
dimensions.Theconceptofbeingloyaltothetextisnottakenseriouslynow,thoughitistechnically
honouredastheprasangaisthescriptoftheplaysscheme.Anarthadariisnotatranslator.Heisare
creatoroftheplot/theme.

Traditionally, the entire prasanga text was sung and the dialogues followed the text closely. Now,
however,insteadofonefullstory,twotothreesmallportions/episodesofdifferentstoriesareselected.

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Therearesetconventionsregardingcombinationsaswellastextediting.Texteditingisdoneeitherby
Bhagawatha(singer)orbytheotherexperiencedartistes.
Theelementthathasheldthepeopleskeeninterestinthisotherwiseactionlessartisthelogicaland
dramatic dialectic between the roles. It concerns questions and replies, accusations and counter
accusations,andchargesandjustifications.Thedebateoftenhot,sometimeseeminglybitter,takesthe
entireaudienceintoallissuesinvolvedinasituation.

Audienceinvolvement is high during two occasions in every Talamaddale performance. 1) During

highly emotional situations (e.g. Bharathas anguish over Ramas exile and 2) during logical
discussions on charged issues( e.g. Valiepisode, KarnaArjuna, RamaRavana, HanumanArjuna,
KrishnaDuryodhana, BhishmaParashurama confrontations). The flow of language, the sparkle of
philosophical and scriptural evidence, abundance of examples, punching wit, enlightening analysis,
irony and satire all these make Talamaddale a rich experience. Often the villains like Ravana or
JarasandhaoutwittheheroeslikeRamaandKrishnaexposingtheirestablishedgreatness.Thisaspect
of Talamaddale, literally causes the explosion of myth inside a mythological drama form! In such
debates,thedistinctionbetweentheroleandtheroleplayerdisappears,andthereareinstanceswhere
thedebateshaveledtostrainedrelationsbetweenleadingartistes.

Imaginative artists can and do bring a contemporary sensibility to the characters. A Ravana in
Talamaddale often questions the propriety of Ramas behavior at Panchavati and accuses him of
colonization of the rakshasa territory. Karna is portrayed as the down trodden rebel, fighting the
disadvantagesofsocialinequality,andquestionsthecredentialsofArjunaandbonafidesofKrishna.

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The effect of a Talamaddale performance depends much on riddles and other conventions of pun,
stichomythia,reparteeetc.Activeresponsefromtheaudiencemakestheperformancelively.However,
it is interesting to watch the audience applauding, enjoying and following closely every bit of fine,
oftenhairsplittingargumentsbetweengreatartists.Theactorfleshesouthisargumentsandresponses
by a recourse to different sources for constructing his part the prasanga text, the classics with their
frame texts of epics, legends, traditional thoughts and scriptures. But Talamaddale is not mere
argumentation. It is essentially a drama, and therefore is judged by standards of other drama forms.
There is a Rasa the Natya, development of the story, and stylized dialogue. But the structure of this
drama itself is such that it artistically drifts and wanders and gives scope for an element of
improvisation.

The presentation by the arthadari (the actor) has three aspects the Peethike, Samvada, and Nirupane
(introduction, dialogue, narration). Peethike or Pravesha (entry) is the introductory soliloquy and is
alsocalledPurvakathe( Past story). It introduces a character, includes the characters thoughts at the
particular juncture and offers a version of what has already happened. It is a an open and free
opportunity to convey to the audience the standpoint of the character, in terms of past actions,
conflicts,problems,etc.Suchintroductionsarenormallyusedbymajorcharacters.Recently,therehas
beenatendencytoindirectlyreplytotheintroduction.Thusoftenapointraisedbyanactor,lingerson
tomanyscenesandtheaudienceisabletogettheperspectiveofthedifferentaspectsofoneissuein
thequestion.
The Samvada or dialogue and Vada or argument are of two types. The first is the traditional verse
dialogue in which each character responds to the other with alternate verse sung. Nowadays,
charactersinterveneandreactevenwhenothercharactersspeak.Thisheightensthedramaticeffect.

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As already mentioned, the prasanga is only a skeleton for performance. The verses offer only an
outline and hints to the actors who develop it through nirupane or narration on different lines
dependingupontheirability.Onelittlelyriccouldprovideabasisforalong,intricatedialogue.Igive
justoneexampleformpoetDevidasasfamousKrishnaSandhana. Krishna, representing Pandavas as
anemissary,presentsthePandavaviewpointregardingthedisputeoverthekingdom.Theversegoes
likethis:
"ThesonsofPandulosttheirkingdomindiceandlatertheycompletedtheirvowssetbyyou.Nowin
ordertobewithyouasbefore,theyhavesentmeheretoarriveatsomeunderstandingregardingtheir
shareofkingdomandtheybegyoutobeconsiderate".

Thislittlepiecegivesrisetoacomplexdebateonthestage.Pandussonswerethey?Didthey really
losethekingdomorabandonit?Isthesharingofakingdompermissible?Wouldtheycomeandlive
withtheKauravasordemandadivision?AsbrothersorasKings?Ifitisamatterofright,whydothey
beg so on the arguments continue. Each of these questions would lead to further debate, and the
entirebackgroundwouldunfoldintotwooppositeversions.

Theartistssometimesresorttoanelaborateplayonwords,punsandjuxtapositionsforcomic effect
ortosharpenarguments.ThefinestelementsofKannadalanguage/idiomcomeoutinsuchsituation.
IfKarnatellsArjunaYouknowwhoyouare,notwhatIam,whoIam,theequivocationinwho and
six charges (Karna is the eldest of Kuntis six sons, hence sixth, a fact not known to Arjuna). These
simplewordswithpoignantirony,theKannadatermforwhoandsixbeingthesame.Karna being the
abandonedandunacknowledgedsonofKunti,isreallythefirstofhersixsons.

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The language of Talamaddale, Kannada, is a unique mixture of the standard, rhetorical, literary
languageandthecontemporary,informal,localvernacular.ThespokenlanguageofcoastalKarnataka
is itself a variant of standard Kannada. Messengers, courtiers, servants etc, use slang. Dramatic
speechesaregenerallystylized,rhetoricalandoccasionallyrhythmic.
InTalamaddalespeechisthemainmedium.Henceithastobemoreelaboratethananddifferent from
bothYakshaganaandregulardrama.Butthedifferenceisnotmerelyofquantity.Thereisanimportant
difference in form. The action, entry, exit, reaction and movement have to be depicted only through
words.TheaudienceofTalamaddaletooexpectsaqualitativedifference.TheaudienceofTalamaddale
is generally from the literate middle and upperclass, as against the more diverse audience of
Yakshagana.

Theartistfollowsauchithyaandrasaprinciples.Buttheconceptsoftheseprinciplesistobeviewed in
the light of special context of this art. It is a verbal form. The process and the product are
simultaneouslyandcontinuouslycreatedonthestage.Itisafullnightsperformancemeantprimarily
for entertainment. Further, it is not a creation of one playwright but is a performance presented
simultaneouslybymanyartists,ofdifferentcaliber,incooperationandincontrastwitheachother.All
thiscouldcertainlydemandarelaxationofthecriticalrulesapplicabletoawrittenplaytext.Aslanton
acharacterinterpretationoranoutlineorathoughtintroducedbyanartistmaybeattacked,distorted,
twistedorcontradictedbyothers.Thispossibilityiseverpresentintheformitself.Sothereisalways
theneedforadjustmentandremodelingwhichmakesTalamaddaleatightropewalk.

Talamaddaleartistsshouldbewellversedinmythology,classical,literature,philosophyandpoetry.He
shouldbewellversedwiththeprasangatexts.Anartistshould be capable of merging with the music

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of Yakshagana, have a good command over language, possess considerable dramatic talent, and be
endowed with power of oratory and a strong voice. The artists should additionally have analytical,
interpretative abilities and attributes of logic and be good observers of human nature. Finally, the
artistesshouldhaveanopen,liberaloutlook,understandtheotherartistes viewpointandadjusttoit.
Manygoodartisteshavepossessedallthesequalities.

This art demands learning. But scholarship should work as collateral to the art aspect. Some of our
village artistes with very limited formal learning have shown that felicitous expression of feelings is
theessentialaspectofthisart.Thesearetheartisteswhohavekeptthistraditionaliveforcenturies.

Thedecadeof1930ssawadeparturefromtraditioninallformsofYakshaganaincludingTalamaddale.
Some senior artistes and art lovers formed the Yakshagana Sabha (Association for Revival of
Yakshagana and Talamaddale). Artistes formed their own groups. New methods of expression
emerged.Textswereeditedwithconsistentplanningandphasing,performancesweretargetedtowards
urbanaudiences.Thisledtothespreadofnewwaveofinterestinthisart.Italsoledtotheemergence
ofabig theatre,whilethesmallorlocaltypehasalsocontinuedtillnow.Nowthereareclearlytwo
streamsofTalamaddaletheneworthebigtheatreandthesmallortheoldtypeispossible,butis
notoftensuccessful.
Thoughthisarthasbeendevelopedbyartistestogreatheights,bringinginnewelements,therehave
been some developments which have led this art into the realm of discourse or discussion. Very
lengthy discussions, disregard for propriety of expression and stage conventions, hairsplitting
debates,lackoftimesenseanddominationbyartistshavebeenthemajorweaknessofthebigtheatre
in Talamaddale. These have been made to strike a new balance between old and new, big and small

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traditionsandtocombinethebestofbothworlds.

The manner of expression in both Talamaddale and Yakshagana is basically of a charged type. It is
romanticandofextremeNatyadharmistyle.Additionally,thisart,beingatheatrewithoutcostumeand
period limitation, moves easily between past and present, locales of mythic geography and
contemporary milieu. Recently, attempts at striking a balance between the Lokadharmi and
Natyadharmi, the social and mythological are noticeable. The general tendency is to soften the
stylisation.Thishascreatedbetteratmosphereandacontemporaryappeal.

As is the case with Kannada literature, Talamaddale seems to be moving from a conservative mythic
perception to a secular, modern perception within the frame of the form. Because of its easy and
constant adaptability, its future is not bleak, unlike many traditional forms which are becoming
obsolete. The verbal component gives scope for the mixed representation of the PanIndian and the
local,givingventtotheculturalpressuresandcreativemodesofpeoplesmind.Othernewdirections
initsgrowthseemimminent.RecenttrendsinPrasangacomposition(versetextwritings)showaclear
departure in content. They are yet to become popular in Talamaddale. If they are accepted, the
departurewillsoonbereflectedheretoo.
TalamaddaleisanartthatanticipatedGrotovskyspoortheatre,centuriesearlier.Itis now awaiting a
breakthroughinorganization,performanceandalsosystematicresearchandseriousstudy.

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