K G Paulose ( b.1946 ) was the first Vice chancellor of Keralakalamandalam Deemed University for Art and Culture from 2007. He has held positions like Registrar of Sree Sankaracharya University, Kalady; Chief Editor Publications, Aryavaidyasala Kottakkal; Chairman Chinmaya International Sodh Sansthan and Principal of Govt.Sanskrit College Tripunithura. He has specialised in the areas of Comparative Aesthetics, Natyasastra, Ancient Theatre and Kutiyattam. He has authored twenty and edited over fifty books and published many Research papers. He was the Chief Editor of three research journals-Purnatrayi, Aryavadyan and Dhimahi. Two of his important publications are – Natankusa - A critique of Dramaturgy (1993) and Kutiyattam Theatre - The Earliest Living Tradition (2006). Several distinctions were bestowed upon him including the awards of Kerala Sahitya Akademi and Kerala Sangeeta Nataka Akademi.
Thirupati Sanskrit Viswavidyalaya conferred on him the title of Vachaspati in 2009.
Professor Paulose is now a Fellow of the Indian Institute of Advanced Study, Rastrapatinivas, Shimla.
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Dr. Paulose by selecting Vyangyavyakhya now and Natankusam earlier for his elaborate critique has been able to project an extremely sensitive problem related to the know-how of Indian histrionics. This especially is to be viewed as inevitable at a time when Indian theatre is facing a crisis of identity and groping in the dark to relate to its national character. Dr. Paulose's untiring efforts in creating awareness of our tradition and its immense potential deserve all encomium. His clarity of vision and liveliness in analysis are well mooted and well intentioned. I wish that his work on Vyangyavyakhya will be made a guide by all practitioners of performing arts especially theatre people who nurture belief in the Indianness in Indian performing arts.
-Padmabhushan Kavalam Narayana Panikkar
About the Work –
The doctrine of Dhvani, expounded by Anandavardhana in Kashmir though contested by his contemporaries at home, received high admiration in Kerala. A royal dramatist of the same century (9.c.CE) applied dhvani to theatre. His performance text is known as Vyangyavykhya-interpreting the implied. This was an epoch-making event in the history of Indian theatre.This innovation in per formative practices marked a deviation from Bharata’s national tradition and laid down the foundation for classical forms like Kutiyattam, Krishnanattam, Kathakali and Mohiniyattam. Vyangyavyakhya today continues to inspire contemporary directors to formulate new interpretative sub-texts for ancient plays. The text, which remained in manuscripts till now, is published for the first time.
Intricacies of Aesthetics (KOCHI, May 4, 2013 )
1. Vyangyavyakhya receives award as “Best Book on Art”. Keralakalamandalam Deemed University for Art and Culture has selected 'Vyangyavyakhya: The Aesthetics of Dhvani in Theatre 'for its prestigious award for the best book on art. Governor Justice P Sadasivam conferred the award to Dr.K G Paulose in the presence of Sri.K.C.Joseph, Minister for Cultural Affairs, Sri.P N Suresh, Vice chancellor and other dignitaries on 09-11-2014 .
2.Award for Eminent Sanskrit Scholars. The Centre for Heritage Studies, Govt.of Kerala, Hill Palace Tripunithura honoured Dr. K G Paulose as Eminent Sanskrit Scholar, on 12-11-2014.
3. Vachaspati Dr. K G Paulose. The age old renowned Anyonyam at Kadavalloor awarded the title of Vachaspati to Dr. K G Paulose on 22-11-2014.
By Krishnachand K
Published: 28th September 2014 06:00 AM
Last Updated: 27th September 2014 08:15 PM
K G Paulose at work | Melton Antony
It was a bolt from the blue for K G Paulose, 68, when Ravi Deecee, the Managing Director of DC Books, a reputed book publisher in Kerala, approached him four years ago with a unique project: to bring out the 18 volumes of the Puranas in a single edition.
Initially, Paulose was unsure about taking it up, considering the magnitude of the project. Though he had robust knowledge and passion for Sanskrit, he was never obsessed with the Puranas. Later, he realised that it was a ‘divine assignment’.
The 18 Puranas extend to over 18,000 pages, with each Purana varying in size and content. This historical work in Malayalam will be four times bigger than the Mahabharata in terms of the number of verses used.
THIRUVANANTHAPURAM, September 26, 2013
G. S. PAUL
K.G. Paulose explains why Vyangyavyakhya: The Aesthetics of Dhvani in Theatre, a book on theatre edited by him, is important to understand theatre forms of Kerala.
A Sanskrit scholar of repute, K.G. Paulose has authored 20 books and edited more than 50, over the past four decades. Comparative aesthetics, Natyasastra and Koodiyattam have been the mainstay of his research. Among them Natankusa (1993), a critique of dramaturgy, and Koodiyattom Theatre: The Earliest Living Tradition (2006) have been epoch making. Vyangyavyakhya: The Aesthetics of Dhvani in Theatre (2013), recently edited by him, is perhaps, his magnum opus, since the ninth century work in Kerala has appeared in print for the first time. More striking is the import of the book – the end-product of his assiduous efforts over two decades – which could serve as a guide to practitioners of performing arts of all genres. Essays penned by K.D. Tripathi, coordinator of Indira Gandhi National Centre for the Arts, Varanasi, Radhavallabh Tripathi, Vice-Chancellor of Rashtriya Sanskrit Sanstahn, New Delhi, N.P. Unni, former Vice-Chancellor of Sree Sankaracharya Sanskrit University, Kalady, and Kavalam Narayana Panicker, renowned theatre celebrity, provide a panoramic view of Indian theatre from the days of Natyasastra. The book was released recently in New Delhi.In an interview, Dr. Paulose, presently a Fellow at the Indian Institute of Advance Study, Shimla, talks about the book and its place in the cultural scenario of India. Excerpts ...
Padmabhushan Kavalam Narayana Panikkar
Dr. K.G. Paulose introduces the great Kerala playwright Kulasekhara in glowing terms as follows: - “…the outside world did not know that Ananda Vardhana had a strong champion in the distant southern most tip of Indian peninsula who applied the principle of Dhwani to theatre and paved the way for the survival of Natyasastra’s Prayogamarga”. Evidently this has reference to the ‘Vyangya Vyakhya’. The dominant characteristic of Vyangya Vyakhya is that it is the chronicle of how the text reaches the domain of performance. It can be construed as the forerunner of the later contributions of the chakyars of Kerala towards preservation of acting manuals like Attaprakaram and Kramadipika. The author enacting the different roles in his own texts postulates the significant philosophy of ‘swayam prekshaka’ which quality can be attributed to the Cosmic Dancer, Lord Siva, - the one having a dual quality of being an actor / creator as well as a creatively critical spectator. Mahendra Vikrama Varman, the author of Mattavilasa prahasana in the opening benediction qualifies ‘Kapaleswara’ as yah prekshakascha swayam. This rare quality is inherited only by rare poet-play wrights like Bhasa, Saktibhadra and Kulasekhara. Among these, Kulasekhara was successful in re-assessing his own creative work with a critical perspective and recreating the ‘dhwani patha’ (subtext) by supplementing the non-sound areas of the text with interpretative action. In the prayoga of Natyasastra, dhwani plays a pivotal role and Vyangya Vyakhya, no doubt is a great contribution to the evolution of theatre traditions of India. This coupled with Rasa provides the uniqueness of India’s contributions in performing arts in comparison with those of the west.
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