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Preparation for a performance begins in the dressing room early in the afternoon.

The Kathakali actor carefully draws the outlines of foundation on his face. The geometry of these lines is crucial to the base of what will eventually become a flexible mask Great calm reigns in the dressing-room Or this operation. which requires complete concentration. During this time the make-up artists and the youngest actors lay out the costumes and prepare the colours which will complete the make-up.

When the actor has finished the first stage of his make-up he lies on the ground while the make up artist carefully applies the chute {white gum and paper which is gradually built up to underline and enhance the make-up). According to the role being played it takes an average of one and a half hours to apply the chutti. During this time the actor relaxes; often he sleeps.

Once the chutti is applied the actor completes his make-up himself by drawing the mouth and colouring in the outlines of the chutti.

At nightfall, a small oil lamp is lit in the dressing-room. The lamp will burn constantly until well after the performance is over and the actors have removed their make-up. The flame makes the area sacred and reminds the actors of the patron divinities of their art.

At this time the atmosphere in the dressing-room livens up and the actors begin to dress, helping each other where necessary. All the ornaments are attached in strict order. The musicians prepare and tune their instruments, discussing the quality of the sounds, possibly tightening some strings or rubbing the drumskins with a large stone.

Putting on the crown or head-dress is the final, most personal, most sacred act of preparation for the actor. Sitting opposite his mirror, close to the oil lamp, he is presented with his head dress and sprinkles it with drops of water as a sign of purification. Then, with the head-dress in his hands, he closes eyes for a moment, collecting himself to invoke the names of his gods and gurus. He then places the head-dress in position and attaches it with a single knot.

All the artists are now ready to go on stage. The youngest bow to their masters, and, one by one, each actor bows in front of the oil lamp invoking Ganesh, the god of arts and of all beginnings.

A make-up artist dressed in white with a flame in his hands appears on stage. He lights the two wicks of the large bronze lamp standing at the front of the stage. The space is now sacred. A conch is sounded three times and a maddalam player stands behind the lamp and plays a short percussion piece, called suddha maddalam, to mark the start of the performance.

The other musicians come on stage and begin to play while a multi-coloured curtain (tirashila) is arranged at the front to hide the entrance of the actors. The space is still a private place for the artists. The costumed characters come and stand behind the curtain where they make ritual salutations to the sky to the audience, to the earth, and to the musicians and their instruments.

Suddenly the action speeds up, the curtain starts to tremble and the characters are revealed to the audience.