NCERT Textbook: Theatre Crafts (Living Craft Traditions of India) | NCERT Textbooks (Class 6 to Class 12) - CTET & State TET PDF Download

 Page 1


The air was sizzling with the energy of the crowded spectators;
children in front, women in a special section, and everyone else
crowding in over the palace walls and ledges. The dancing began
with an aarti. The music here is sophisticated, as is the style, with the
arms moving in beautiful patterns, both geometric and lyricalÖ   The
masks are heavy and do not permit the dancers to breathe normally,
so after a particularly strenuous piece, the performer flings himself
onto the line of attendants, gasping madly. They inevitably collapse
like dominoes onto the screaming children, as they frantically rip
off their masks. This adds to the strange, unearthly feeling of
the evening...
On the fourth night, the dance festival begins at the Kalika Ghat.
The dancer wears a black costume and covered in black body paint
looks terrifying. He dances his way up in a trance from the river,
surrounded by the bhaktas, and comes to the Shiva temple. Outside
the temple a brief ceremony takes place in front of a small fire while
the dancer sways his body and rolls his eyes.
ñ Extract from an article on Chhau by RAM RAHMAN
THEATRE CRAFTS 10
Chhau  performance,
West Bengal
Page 2


The air was sizzling with the energy of the crowded spectators;
children in front, women in a special section, and everyone else
crowding in over the palace walls and ledges. The dancing began
with an aarti. The music here is sophisticated, as is the style, with the
arms moving in beautiful patterns, both geometric and lyricalÖ   The
masks are heavy and do not permit the dancers to breathe normally,
so after a particularly strenuous piece, the performer flings himself
onto the line of attendants, gasping madly. They inevitably collapse
like dominoes onto the screaming children, as they frantically rip
off their masks. This adds to the strange, unearthly feeling of
the evening...
On the fourth night, the dance festival begins at the Kalika Ghat.
The dancer wears a black costume and covered in black body paint
looks terrifying. He dances his way up in a trance from the river,
surrounded by the bhaktas, and comes to the Shiva temple. Outside
the temple a brief ceremony takes place in front of a small fire while
the dancer sways his body and rolls his eyes.
ñ Extract from an article on Chhau by RAM RAHMAN
THEATRE CRAFTS 10
Chhau  performance,
West Bengal
112 LIVING CRAFT TRADITIONS OF INDIA
Story-telling
Everyone loves a good story. We have heard stories from
our grandparents, parents, family and friends throughout
our childhood.
In India we have invented many ways of telling stories.
A few of them are described below.
Puppetry: A puppet is a doll or figure representing a person,
animal, object or an idea and is used to tell a story. The
puppet is made of various materials and can be moved in
different ways. Puppets are classified as follows on the basis
of the way they are moved in performance:
? string puppets
? glove puppets
? rod puppets
? shadow puppets
Glove puppet, Kerala
Bhopa (narrator), Rajasthan
Scroll Paintings: There are
different kinds of scroll
paintings in India. Scroll
paintings usually done on
cloth are narratives on
different social and religious
themes. The narrators sing
and explain these themes,
sometimes accompanied by
instrumentalists. Especially
famous are the scroll
paintings from Rajasthan,
West Bengal and Orissa.
Shadow puppets, Andhra Pradesh String puppets, Karnataka
Page 3


The air was sizzling with the energy of the crowded spectators;
children in front, women in a special section, and everyone else
crowding in over the palace walls and ledges. The dancing began
with an aarti. The music here is sophisticated, as is the style, with the
arms moving in beautiful patterns, both geometric and lyricalÖ   The
masks are heavy and do not permit the dancers to breathe normally,
so after a particularly strenuous piece, the performer flings himself
onto the line of attendants, gasping madly. They inevitably collapse
like dominoes onto the screaming children, as they frantically rip
off their masks. This adds to the strange, unearthly feeling of
the evening...
On the fourth night, the dance festival begins at the Kalika Ghat.
The dancer wears a black costume and covered in black body paint
looks terrifying. He dances his way up in a trance from the river,
surrounded by the bhaktas, and comes to the Shiva temple. Outside
the temple a brief ceremony takes place in front of a small fire while
the dancer sways his body and rolls his eyes.
ñ Extract from an article on Chhau by RAM RAHMAN
THEATRE CRAFTS 10
Chhau  performance,
West Bengal
112 LIVING CRAFT TRADITIONS OF INDIA
Story-telling
Everyone loves a good story. We have heard stories from
our grandparents, parents, family and friends throughout
our childhood.
In India we have invented many ways of telling stories.
A few of them are described below.
Puppetry: A puppet is a doll or figure representing a person,
animal, object or an idea and is used to tell a story. The
puppet is made of various materials and can be moved in
different ways. Puppets are classified as follows on the basis
of the way they are moved in performance:
? string puppets
? glove puppets
? rod puppets
? shadow puppets
Glove puppet, Kerala
Bhopa (narrator), Rajasthan
Scroll Paintings: There are
different kinds of scroll
paintings in India. Scroll
paintings usually done on
cloth are narratives on
different social and religious
themes. The narrators sing
and explain these themes,
sometimes accompanied by
instrumentalists. Especially
famous are the scroll
paintings from Rajasthan,
West Bengal and Orissa.
Shadow puppets, Andhra Pradesh String puppets, Karnataka
113 THEATRE CRAFTS
Theatre: It is a great form for story-telling in which one or
more actors using the skills of dancing, acting, singing,
talking, miming and theatre crafts like masks, make-up
and costumes create a story world for us.
Every corner of India has its own unique form of folk
theatre ó the lively Nautanki of Uttar Pradesh which often
draws on romantic Persian literature for its themes; raw
vigour and bawdy humour characterise the Tamasha of
Maharashtra or the Bhavai of Gujarat; the blood and
thunder of the Jatra melodramas of Bengal which are in
great demand during Puja (Dussehra) festivities: or the
dance-drama form of Yakshagana from Karnataka, to name
just a few.
In this chapter we look at only a few of these to encourage
you to look for and discover any similar traditions that
exist in your own neighbourhood.
Masks, make-up and costumes
Kathakali mask, Kerala
Masks
Why did our ancestors use masks, and why are they still
being used in several parts of our country?
In many tribal societies across the world, masks still
have a ritual significance. People believe that by wearing
or putting on a mask, the person ëbecomesí the character
depicted on the mask.
Masks, those magical objects with which we cover our
faces and assume a different identity, have a rich and varied
tradition in our country.
From the delicate pastel coloured masks and shimmering
head-dresses worn by Chhau dancers to the demon dance
masks of the Buddhist monasteries of Ladakh to the
inexpensive animal masks of papier-m‚chÈ available in
our cities, India has a vast and ancient tradition of masks
and make-up for rituals and theatre.
Theatre: a Composite Art Form
Theatre is a composite art form in which many skills, arts and crafts
are brought together. A wide range of craft objects are made especially
for use in drama, dance or music performances, such as the following:
? masks
? make-up
? head-dresses
? costumes
? lightweight jewellery
? sceneries and stages
? music with drums and
trumpets, manjiras
Page 4


The air was sizzling with the energy of the crowded spectators;
children in front, women in a special section, and everyone else
crowding in over the palace walls and ledges. The dancing began
with an aarti. The music here is sophisticated, as is the style, with the
arms moving in beautiful patterns, both geometric and lyricalÖ   The
masks are heavy and do not permit the dancers to breathe normally,
so after a particularly strenuous piece, the performer flings himself
onto the line of attendants, gasping madly. They inevitably collapse
like dominoes onto the screaming children, as they frantically rip
off their masks. This adds to the strange, unearthly feeling of
the evening...
On the fourth night, the dance festival begins at the Kalika Ghat.
The dancer wears a black costume and covered in black body paint
looks terrifying. He dances his way up in a trance from the river,
surrounded by the bhaktas, and comes to the Shiva temple. Outside
the temple a brief ceremony takes place in front of a small fire while
the dancer sways his body and rolls his eyes.
ñ Extract from an article on Chhau by RAM RAHMAN
THEATRE CRAFTS 10
Chhau  performance,
West Bengal
112 LIVING CRAFT TRADITIONS OF INDIA
Story-telling
Everyone loves a good story. We have heard stories from
our grandparents, parents, family and friends throughout
our childhood.
In India we have invented many ways of telling stories.
A few of them are described below.
Puppetry: A puppet is a doll or figure representing a person,
animal, object or an idea and is used to tell a story. The
puppet is made of various materials and can be moved in
different ways. Puppets are classified as follows on the basis
of the way they are moved in performance:
? string puppets
? glove puppets
? rod puppets
? shadow puppets
Glove puppet, Kerala
Bhopa (narrator), Rajasthan
Scroll Paintings: There are
different kinds of scroll
paintings in India. Scroll
paintings usually done on
cloth are narratives on
different social and religious
themes. The narrators sing
and explain these themes,
sometimes accompanied by
instrumentalists. Especially
famous are the scroll
paintings from Rajasthan,
West Bengal and Orissa.
Shadow puppets, Andhra Pradesh String puppets, Karnataka
113 THEATRE CRAFTS
Theatre: It is a great form for story-telling in which one or
more actors using the skills of dancing, acting, singing,
talking, miming and theatre crafts like masks, make-up
and costumes create a story world for us.
Every corner of India has its own unique form of folk
theatre ó the lively Nautanki of Uttar Pradesh which often
draws on romantic Persian literature for its themes; raw
vigour and bawdy humour characterise the Tamasha of
Maharashtra or the Bhavai of Gujarat; the blood and
thunder of the Jatra melodramas of Bengal which are in
great demand during Puja (Dussehra) festivities: or the
dance-drama form of Yakshagana from Karnataka, to name
just a few.
In this chapter we look at only a few of these to encourage
you to look for and discover any similar traditions that
exist in your own neighbourhood.
Masks, make-up and costumes
Kathakali mask, Kerala
Masks
Why did our ancestors use masks, and why are they still
being used in several parts of our country?
In many tribal societies across the world, masks still
have a ritual significance. People believe that by wearing
or putting on a mask, the person ëbecomesí the character
depicted on the mask.
Masks, those magical objects with which we cover our
faces and assume a different identity, have a rich and varied
tradition in our country.
From the delicate pastel coloured masks and shimmering
head-dresses worn by Chhau dancers to the demon dance
masks of the Buddhist monasteries of Ladakh to the
inexpensive animal masks of papier-m‚chÈ available in
our cities, India has a vast and ancient tradition of masks
and make-up for rituals and theatre.
Theatre: a Composite Art Form
Theatre is a composite art form in which many skills, arts and crafts
are brought together. A wide range of craft objects are made especially
for use in drama, dance or music performances, such as the following:
? masks
? make-up
? head-dresses
? costumes
? lightweight jewellery
? sceneries and stages
? music with drums and
trumpets, manjiras
114 LIVING CRAFT TRADITIONS OF INDIA
How the Chhau Mask Is Made
The most beautiful masks in our country are made for the
Chhau dance form. Chhau is a style performed exclusively
by men from the triangular area where Bihar, Bengal and
Orissa meet. This is the tribal belt of India ó home to the
tribal groups of Bhulya, Santhals, Mundas, Hos and
Oraons. The masks they use vary depending on the style
of Chhau practised ó Seraikella Chhau or Purulia Chhau.
In the third form of Chhau, Mayurbhanj Chhau, masks
are not worn.
The Chhau mask is made of  pottersí clay
(matti ghada) over which layers of muslin are
pasted followed by paper (kagaz chitano). Using
a delicate wooden chisel, different features of
the mask are polished ó the nose, eyes, ears,
chin and lips. Once it is dried it is painted in
pastel colours (kahij lepa). Then the mask is
separated from the clay model and fully dried
in the sun. The clay is then reshaped to make
another mask. Finally, the mask is worn with a
highly decorated head-dress of tinsel, pearls,
coloured paper and artificial flowers.
Mask making is a hereditary occupation and
mask makers come from Chorinda village in
Bengal. Masks are made between February and
June as it does not rain at this time, but the
fragility of the mask ensures its makers are
always in high demand. It is only in Chhau that
all the dancers wear masks. The sophistication
of technique and expression is most evident
when the mask is seen in movement. Though
they appear flat and neutral with their
distinguishing features of arched eyebrows and
elongated half-closed eyes, the masks acquire
114 LIVING CRAFT TRADITIONS OF INDIA
Page 5


The air was sizzling with the energy of the crowded spectators;
children in front, women in a special section, and everyone else
crowding in over the palace walls and ledges. The dancing began
with an aarti. The music here is sophisticated, as is the style, with the
arms moving in beautiful patterns, both geometric and lyricalÖ   The
masks are heavy and do not permit the dancers to breathe normally,
so after a particularly strenuous piece, the performer flings himself
onto the line of attendants, gasping madly. They inevitably collapse
like dominoes onto the screaming children, as they frantically rip
off their masks. This adds to the strange, unearthly feeling of
the evening...
On the fourth night, the dance festival begins at the Kalika Ghat.
The dancer wears a black costume and covered in black body paint
looks terrifying. He dances his way up in a trance from the river,
surrounded by the bhaktas, and comes to the Shiva temple. Outside
the temple a brief ceremony takes place in front of a small fire while
the dancer sways his body and rolls his eyes.
ñ Extract from an article on Chhau by RAM RAHMAN
THEATRE CRAFTS 10
Chhau  performance,
West Bengal
112 LIVING CRAFT TRADITIONS OF INDIA
Story-telling
Everyone loves a good story. We have heard stories from
our grandparents, parents, family and friends throughout
our childhood.
In India we have invented many ways of telling stories.
A few of them are described below.
Puppetry: A puppet is a doll or figure representing a person,
animal, object or an idea and is used to tell a story. The
puppet is made of various materials and can be moved in
different ways. Puppets are classified as follows on the basis
of the way they are moved in performance:
? string puppets
? glove puppets
? rod puppets
? shadow puppets
Glove puppet, Kerala
Bhopa (narrator), Rajasthan
Scroll Paintings: There are
different kinds of scroll
paintings in India. Scroll
paintings usually done on
cloth are narratives on
different social and religious
themes. The narrators sing
and explain these themes,
sometimes accompanied by
instrumentalists. Especially
famous are the scroll
paintings from Rajasthan,
West Bengal and Orissa.
Shadow puppets, Andhra Pradesh String puppets, Karnataka
113 THEATRE CRAFTS
Theatre: It is a great form for story-telling in which one or
more actors using the skills of dancing, acting, singing,
talking, miming and theatre crafts like masks, make-up
and costumes create a story world for us.
Every corner of India has its own unique form of folk
theatre ó the lively Nautanki of Uttar Pradesh which often
draws on romantic Persian literature for its themes; raw
vigour and bawdy humour characterise the Tamasha of
Maharashtra or the Bhavai of Gujarat; the blood and
thunder of the Jatra melodramas of Bengal which are in
great demand during Puja (Dussehra) festivities: or the
dance-drama form of Yakshagana from Karnataka, to name
just a few.
In this chapter we look at only a few of these to encourage
you to look for and discover any similar traditions that
exist in your own neighbourhood.
Masks, make-up and costumes
Kathakali mask, Kerala
Masks
Why did our ancestors use masks, and why are they still
being used in several parts of our country?
In many tribal societies across the world, masks still
have a ritual significance. People believe that by wearing
or putting on a mask, the person ëbecomesí the character
depicted on the mask.
Masks, those magical objects with which we cover our
faces and assume a different identity, have a rich and varied
tradition in our country.
From the delicate pastel coloured masks and shimmering
head-dresses worn by Chhau dancers to the demon dance
masks of the Buddhist monasteries of Ladakh to the
inexpensive animal masks of papier-m‚chÈ available in
our cities, India has a vast and ancient tradition of masks
and make-up for rituals and theatre.
Theatre: a Composite Art Form
Theatre is a composite art form in which many skills, arts and crafts
are brought together. A wide range of craft objects are made especially
for use in drama, dance or music performances, such as the following:
? masks
? make-up
? head-dresses
? costumes
? lightweight jewellery
? sceneries and stages
? music with drums and
trumpets, manjiras
114 LIVING CRAFT TRADITIONS OF INDIA
How the Chhau Mask Is Made
The most beautiful masks in our country are made for the
Chhau dance form. Chhau is a style performed exclusively
by men from the triangular area where Bihar, Bengal and
Orissa meet. This is the tribal belt of India ó home to the
tribal groups of Bhulya, Santhals, Mundas, Hos and
Oraons. The masks they use vary depending on the style
of Chhau practised ó Seraikella Chhau or Purulia Chhau.
In the third form of Chhau, Mayurbhanj Chhau, masks
are not worn.
The Chhau mask is made of  pottersí clay
(matti ghada) over which layers of muslin are
pasted followed by paper (kagaz chitano). Using
a delicate wooden chisel, different features of
the mask are polished ó the nose, eyes, ears,
chin and lips. Once it is dried it is painted in
pastel colours (kahij lepa). Then the mask is
separated from the clay model and fully dried
in the sun. The clay is then reshaped to make
another mask. Finally, the mask is worn with a
highly decorated head-dress of tinsel, pearls,
coloured paper and artificial flowers.
Mask making is a hereditary occupation and
mask makers come from Chorinda village in
Bengal. Masks are made between February and
June as it does not rain at this time, but the
fragility of the mask ensures its makers are
always in high demand. It is only in Chhau that
all the dancers wear masks. The sophistication
of technique and expression is most evident
when the mask is seen in movement. Though
they appear flat and neutral with their
distinguishing features of arched eyebrows and
elongated half-closed eyes, the masks acquire
114 LIVING CRAFT TRADITIONS OF INDIA 115 THEATRE CRAFTS
a whole range of expression with every twist and turn of
the body. Accompanied by the huge dhamsa drums and
two energetic dhol players who provoke and encourage the
dancers, the Chhau dancer makes lightning body
movements known as chamak.
Excavations have revealed small hollow masks dating
back to the Indus Valley Civilisation. In fact in Bihar a
terracotta mask of the fourth century has also been
excavated. The Natya Shastra speaks of masks and their
use in theatre. Here it is mentioned that masks can be
made of ground paddy husks applied to cloth.
115 THEATRE CRAFTS