KOODIYATTAM(കൂടിയാട്ടം )

KOODIYATTAM(കൂടിയാട്ടം )

രണ്ടായിരങ്ങള്‍ വര്‍ഷം പഴക്കന്മുള്ള ഒരു അഭിനയകലയാണ്‍ കൂടിയാട്ടം. ക്ഷേത്ര മതില്‍ക്കകത്തുള്ള കൂത്തമ്പലത്തില്‍ ആണ്‍ കൂടിയാട്ടം നടത്തിവരാറുള്ളത്. സ്ത്രീ വേഷം കെട്ടാന്‍ നങ്യാരമ്മമാരും പുരുഷവേഷം കെട്ടാന്‍ ചാക്യാരും മിഴാവ് കൊട്ടുന്നത് നമ്പ്യാരുമാരുമാണ്‌ .

ലോകപൈതൃകമായി യുനെസ്കോ   അംഗീകരിച്ച ആദ്യത്തെ ഭാരതീയ നൃത്തരൂപമാണ് കൂടിയാട്ടം. അഭിനയകലയ്ക്ക് നൃത്ത്ത്തെക്കാൾ പ്രാധാന്യം നൽകുന്നതിനാൽ കൂടിയാട്ടത്തിനെ “അഭിനയത്തിന്റെ അമ്മ” എന്നും വിശേഷിപ്പിക്കുന്നുകൂടിയാട്ടത്തിന്റെ ഇപ്പോഴുള്ള രൂപത്തിന് എണ്ണൂറ് വർഷങ്ങളുടെ പഴക്കമേയുള്ളു. ഏറ്റവും പ്രാചീനമായ സംസ്കൃതനാടകരൂപങ്ങളിലൊന്നാണിത്. പൂർണരൂപത്തിൽ ഒരു കൂടിയാട്ടം അവതരിപ്പിക്കാൻ 41 ദിവസം വേണ്ടിവരും.

Koodiyattam [kutiyattam], meaning "combined acting," signifies Sanskrit drama presented in the traditional style in temple theatres of Kerala. It is the only surviving specimen of the ancient  Sanskrit theatre. It has an attested history of a thousand years in Kerala, but its origin and evolution are shrouded in mystery. Kutiyattam and chakyar koothu were among the dramatized dance worship services in temples of ancient India, particularly Tamilakam (modern-day Tamil Nadu and Kerala). Both kootiyattam and chakyar koothu find several mentions in ancient sangam literature of south and also in the epigraphs belonging to subsequent Pallava, Chera, Chola periods in Tamil Nadu. Inscriptions related to the dramatized dance worship services like koodiyattam and chakyar koothu are available in temples at Tanjore, Tiruvidaimaruthur, Vedaranyam, Tiruvarur, and Omampuliyur. They were treated as an integral part of worship services alongside the singing of tevaram and prabandam hymns. There are mentions in epigraphs those forms of dramatized dance worship services that are called aariyam that mostly had Sanskrit scripts for plays.

Several ancient kings and members of other professions are listed to have authored several works for these services. There is evidence of these services being done all over ancient subcontinent during time of cholas and pallavas. A Pallava king called Rajasimha has been credited with authoring a play called kailasodharanam in Tamil that has the topic of Ravana becoming subject to Siva's anger and being subdued mercilessly for the same. For examples a fragmented inscription at the door step of an ancient Shiva temple (now non-existent) in Pegan in Burma finds mention of these services.

It is believed that Kulasekhara Varman Cheraman Perumal, an ancient king of Tamil Chera dynasty, who ruled from Mahodayapuram (modern  (Kodungalloor ) reformed Koodiyattam, introducing the local language for Vidusaka and structuring presentation of the play to well-defined units. He himself wrote two plays, Subhadraharana and Tapatisamvarana and made arrangements for their presentation on stage with the help of a  Brahmin friend called Tolan. These plays are still presented on stage. Apart from these, the plays traditionally presented include Ascaryacudamani of Saktibhadra, Kalyanasaugandhika of Nilakantha, Bhagavadajjuka of Bodhayana , Nagananda of Harsa, and many plays ascribed to  Bhasa including Abhiseka and Pratima. The Kutiyattam performance was performed in specially designed temples called koothambalams.

Prof. John Kurakar