Philip Zarrilli (1984). The Kathakali Complex: Performance & Structure. Abhinav Publications. ISBN 978-81-7017-187-4. The most studied version of the Natya Shastra text consists of about 6000 verses structured into 36 chapters. [12] [15] The text, states Natalia Lidova, describes the theory of Tāṇḍava dance ( Shiva), the theory of rasa, of bhāva, expression, gestures, acting techniques, basic steps, standing postures–all of which are part of Indian classical dances including Kathakali. [11] [12] [16] Dance and performance arts, states this ancient Hindu text, [17] are a form of expression of spiritual ideas, virtues and the essence of scriptures. [18]

Nambudiri, Haripriya (20 July 2017). "The woman's role in Kathakali". The Hindu. ISSN 0971-751X . Retrieved 30 January 2020. a b c d Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993). Indian Theatre: Traditions of Performance. Motilal Banarsidass. pp.326–328. ISBN 978-81-208-0981-9. 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. Williams, Drid (2004). "In the Shadow of Hollywood Orientalism: Authentic East Indian Dancing" (PDF). Visual Anthropology. Routledge. 17 (1): 69–98. doi: 10.1080/08949460490274013. S2CID 29065670. Archived from the original (PDF) on 4 March 2016 . Retrieved 25 July 2016.

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The roots of Kathakali are unclear. Jones and Ryan state it is more than 500 years old. Kathakali emerged as a distinct genre of performance art during the 16th and 17th centuries in Kerala. [19] The roots of Kathakali, states Mahinder Singh, are more ancient and some 1500 years old. [20] Links to older performance arts: Kutiyattam and Krishnanattam [ edit ] FACT Jayadeva Varma Farley P. Richmond; Darius L. Swann; Phillip B. Zarrilli (1993). Indian Theatre: Traditions of Performance. Motilal Banarsidass. p.327. ISBN 978-81-208-0981-9. Richard Schechner (2010). Between Theater and Anthropology. University of Pennsylvania Press. pp.100–102. ISBN 978-0-8122-0092-8. Janelle G. Reinelt; Joseph R. Roach (2007). Critical Theory and Performance. University of Michigan Press. pp.110–111. ISBN 978-0-472-06886-9.

J. Harding; C. Rosenthal (2011). The Rise of Performance Studies: Rethinking Richard Schechner's Broad Spectrum. Palgrave Macmillan. p.178. ISBN 978-0-230-30605-9. The Kalluvazhi style is second of the two, which developed in Palakkad ( Olappamanna Mana) in central Kerala, [66] and it is a synthesis of the older Kaplingadan and Kalladikkotan performance arts. [63] [64] It is traditionally attributed to Unniri Panikkar, in a Brahmin household (~1850), and became the dominant style established in Kerala Kalamandalam – a school of performance arts. [63] Training centres and awards [ edit ] Kerala Kalamandalam is a major centre for Kathakali studies. Cheris Kramarae; Dale Spender (2004). Routledge International Encyclopedia of Women: Global Women's Issues and Knowledge. Routledge. p.296. ISBN 978-1-135-96315-6. A 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]Martin Banham (1995). The Cambridge Guide to Theatre. Cambridge University Press. pp. 522–525. ISBN 978-0-521-43437-9. Kathakali is structured around plays called Attakatha (literally, "enacted story" [3]), written in Sanskritized Malayalam. [28] [30] These plays are written in a particular format that helps identify the "action" and the "dialogue" parts of the performance. [30] The Sloka part is the metrical verse, written in third person – often entirely in Sanskrit - describing the action part of the choreography. [3] [30] The Pada part contains the dialogue part. [30] These Attakatha texts grant considerable flexibility to the actors to improvise. Historically, all these plays were derived from Hindu texts such as the Ramayana, the Mahabharata and the Bhagavata Purana. [31] [32]