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Kathakali is a multi-lingual art form which uses music, poetry, song, make up, costume and dance to tell stories.

MAKE UP AND COSTUMES
The vesham - the combination of costume, ornaments and make-up which represents individual characters - is integral to the Kathakali art. It provides an actor with the physical trappings of a particular character and the symbolic key to understanding and interpreting the role.

In Kathakali-King Lear, the intensity of Lear's conflict, Cordelia's simplicity and sensitivity and Goneril and Regan's malevolence are written boldly in the elaborate masks of the players. The practical transformation is painstaking and make-up can take up to five hours to apply.

Characters are classified by 'types' which correspond to a specific style of make-up and a dominant colour imbued with symbolic value. The more unusual the character, the more abstract and surreal the vesham.

King Lear is a Katti, a royal character defined by pride and anger. The basic colours of his make-up are green, to symbolise royalty, and red, to symbolise violence. A 'moustache' is drawn across his face and emphasised by a round white nose. The lines Continue on the forehead above the eyebrows in the form of a knife (katti).

The King of France is a Paccha, a royal Character defined by nobility and virtue. The basic colour of his make-up is green (paccha).

Goneril and Regan are Karis, extravagant female characters with demonic tendencies. The basic colour of Goneril's makeup is black (kari) and Regan's is dark blue. These colours symbolise the primitive instincts of man.

Cordelia is a female Minukku. The Soldier is a male Minukku with an imposing black moustache. These less flamboyant Characters are presented more realistically and the basic colour of their make-up is sparkling orange (minukku).

The character of the Fool has no equivalent in Kathakali this adaptation, his make up has been inspired by the Vidushaka a, the King's fool whose role is central to Kutiyattam, the Sanskrit theatre of Kerala. Kutiyattam is the principal literary source of the Kathakali tradition.

Tom is a Teppu. His face is painted (teppu) different colours. The keep of this character-type embraces a wide range of roles, from those closely associated to the animal kingdom to those less specifically defined.

TEXT
Kathakali actors speak with anions not words as two singers narrate the tale. A Kathakali play is divided into scenes (rangams). Each scene begins with the singing of a short plot summary (sloka) detailing the state of mind of the characters. The summary is followed by sung poems (padams), which carry the dialogue, convey major statements, and which are illustrated word for word by the actors in their gestures. These poems are interspersed with ten represented purely by gesture and accompanied by percussion (attams). This text is designed to provide narrative continuity. In addition to the Scripted anion, the actors constantly improvise - often with wit and humour - to ensure that no two performances are ever the same!

SONG
Sopana, the Style of song used in Kathakali, derives from the chanting of sacred texts on temple steps. The voices are full-bodied and rather harsh, enhancing the drama of the text. Emotion and mood is implied by musical techniques (ragas). The principal singer has the role of conductor, determining the tempo and length of the performance. The rhythmic Structure (tala), created with the gong (chengilam) and cymbals (llattalam) allows singers drummers and actors to come together at certain points in the action.

PERCUSSION
Drums are used to infuse the performance with energy, following every movement of the actors. Each drum expresses different moods. At times the noise ran be deafening.

Struck with drumsticks or a bare hand, the upright agenda is a light versatile instrument capable of indicating slight movements but also open powerful and echoing. When tuned around, it becomes deeper and more ponderous to accompany ritual or ceremonial moments. The long and heavy maddalam is struck at each end with the fingers.

Its sounds are deep, secret vibrant and warm.

GESTURE
Since no scenery is used in Kathakali productions, the physical presence and projective power of the actor is all the more important to set the scene.

Kathakali gestures are so sophisticated that they amount to an entire language. The actor's hands are his words; his face and eyes are his emotions, and the movements of his body are the punctuation and poetry of his sentences.

DANCE
Kathakali dance is characterised principally by its virility (tandava). It is an art with a masculine dominant, where the movements are angular, energetic, and open fast and expansive.

The graceful aspects (lasya) of the dance form are introduced through the delicacy, lightness and discretion of the non-demonic female characters.

At times there are moments of pure dance which emphasise certain emotions and events or illustrate specific sequences of action. So, for example, in Kathakali-King Lear the battle scene between the King of France and the two sisters is embodied by martial choreography.