________________ details of the temple include provision for the theatre which is usually designated as Kuttampalam.3 Despite a vast number of kingdoms and principalities with its numerous palaces of ancient Kerala, the temples were regarded as the centres of culture and arts. Though occasionally members of the royal palace were inclined to witness a performance of actors within the walls of their enclosures, as a general rule they preferred the temple theatre. Hence they themselves have caused numerous temple-theatres to be built in the various prominent temples of Kerala, some of them dating back to 9th century A. D. As a rule every major temple will be having at least one permanent stage where the Cakvars (a class of professional actors of Kerala belonging to the group of temple servants called Ampalavasis) used to put on Sanskrit dramas on the occasion of festivals. The existence of such theatres on a permanent foot. ing has naturally resulted in a rich dramatic heritage of Kerala by not only preserving the old Sanskrit plays but also giving impetus to compose new ores for the stage. Ancient kings of Kerala like Kulasekharavarman and others wielded the pen successfully and enriched the dramatic heritage of the land bringing out works like Tapatisamvarana and Subhadradhananjaya. This feature of the temple was so permanent and essential that manuals on temple architecture began to incorporate the dimensional aspects and structural details of theatres in their fold. This according to Tantrasamuccaya of Cannas Narayana Namputiri (born in 1428 A.D.) the Natyamandapa is to be located to the right side of the temple facing the principal deity. Towards the rear part of the edifice the stage proper is to be 3. There are tracts which deal with the renovation of temple-theatre. Manuscript No. 17444 of the Kerala University Manuscripts Library entitled Nartanaranganavik aranavidhi prescribes the mode of renovating the stage in the Kerala temples. 4. Manuscript No. 21883 of the Kerala Universities Manuscripts Library entitled Narabhisekavidhi deals with the caremonial inauguration of the actors on the Kerala stage. 5. See Dr. N.P. Unni, Sanskrit Dramas of Kulase khara-A study, College Book House, Trivandrum 1977, for details. 6. Trivandrum Sanskrit Serie: No. 151, 169 and 200. The work is a digest in 12 Patalas dealing with the consecration and worship of the major Hindu deities. built, the shape of which shall be square with four pillars supporting the roof. Just behind the stage is the place for accommodating singers and their accompanists. The green-room is located behind this place. Thus the theatre will be having the greenroom, the place for musicians, the stage-proper and the auditorium where the spectators are admitted. It is to be noticed that no proper seats are provided for them. They have to sit on the level ground which of course is some two or three feet above the actual ground level over which the theatre is built. It is also laid down that the actual size of the Natyamandapa should have some proportion to the circumference of the sanctum sanctorum. But this proportion is different according to different authorities and hence a uniformity in its size is seldom met with. About five different methods to arrive at this proportion is to be found. The roof of course, is provided with titles or copper sheets. But the theatre should have three stupas or ornamental domes of pyramidal shape one of which should be directly above the centre of the stage proper. Such kind of stages called Kuttampalams are to be noticed in some of the major temples of Kerala. At present there are about twenty such theatres in the temples of this region. Many of these temple theatre can be compared with the Vikrasta type propounded by Bharata. As in the case of the above type it is also rectangular in shape. The only noteworthy difference is its dimension. Whereas the Natyasastra is specific regarding the dimension of the types of theatres, the dimension of the Kerala temple theatre is determined in relation to the circumference of the strine. Thus about half a dozen dimensions can be postulated for the temple stage. Still one may say that it has its origin in the prescription of Bharata. It must be admitted that these temple theatres have gone a long way in preserving the theatrical traditions in India. Theatres forming an integral part of royal houses having been gone inaccessible to the people at large, temple theatres brought the art of histrionics closer to them. Undoubtedly it has resulted in the growth of dramatic literature in this part of the country. It has also caused to preserve ancient dramas like the thirteen Trivandrum plays ascribed to Bhasa. The formation of the temple stage may well be termed as an evolution in Indian theatrical traditions. For the first time it brought literature and art as the common heritage of all the people. Masses (Contd. on page 37) 32 Rajendra-Jyoti Jain Education International For Private & Personal Use Only www.jainelibrary.org
