K G Paulose ( b.1946 ) was the first Vice chancellor from 2007 - 2011 of Keralakalamandalam Deemed University for Art and Culture. 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. His important publications are – Natankusa - A critique of Dramaturgy (1993), Kutiyattam Theatre - The Earliest Living Tradition (2006), Laghu Samskrtam (2006) and Vyangyavyakhya- The Aesthetics of Dhvani (2013). 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 was a Fellow (2012 -2014)of the Indian Institute of Advanced Study, Rastrapatinivas, Shimla.
2009 Rashtriya Sanskrit Samsthan, Tirupathi, Andhra Pradesh conferred the honour of Vachaspati.
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.
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1. Kutiyattam Abhinayathinte Thutarchayum Valarchayum (Revised) - 2020
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ലോകത്ത് ഇന്ന് നിലനിൽക്കുന്ന ഏറ്റവും പ്രാചീനമായ കലാരൂപമാണ് കൂടിയാട്ടം . 2002 ൽ ലോക പൈതൃകത്തിൽ സംരക്ഷിക്കപ്പെടേണ്ട ഏറ്റവും മഹത്തായ കലാരുപമായി കൂടിയാട്ടത്തെ യുനെസ്കോ അംഗീകരിച്ചു. കേരളത്തിലെ കൂത്തമ്പലങ്ങളിൽ ചാക്യാർ സമുദായം ഈ മഹത്തായ സംസ്കൃത നാടക പാരമ്പര്യത്തെ സംരക്ഷിച്ചു. ഇന്ന് ലോകമെങ്ങും തിയേറ്റർ പഠനത്തിന് ഏറ്റവും ഉന്നതമായ മാതൃകയായി അംഗീകരിച്ചിട്ടുള്ളത് കൂടിയാട്ടത്തെയാണ്. എന്നാൽ ലോകം കൂടിയാട്ടത്തിന്റെ സൂക്ഷ്മമായ അഭിനയ സമ്പ്രദായത്തെ ഒരു മഹാത്ഭുതമായി വീക്ഷിച്ചപ്പോൾ ആ മഹനീയ കലയുടെ ജന്മനാട് ഈ വിശ്വോത്തര കലയെ വേണ്ട വിധം സ്വീകരിച്ചില്ല എന്നത് വളരെ ഖേദകരമാണ്. എന്നാൽ ഇക്കഴിഞ്ഞ ആറോ ഏഴോ പതിറ്റാണ്ട്കളായി വളരെ മന്ദഗതിയിലാണെങ്കിലും കൂടിയാട്ടം എന്ന കലാരൂപം ഒരു നവോത്ഥാനകാലഘട്ടത്തിലൂടെ കടന്ന് പ് പോകുകയാണെന്നത് ഒട്ടൊക്കെ ആശ്വസകരമാണ്. ഈ നവോത്ഥാനത്തിൽ തൃപ്പൂണിത്തുറ ഇൻറർനാഷണൽ സെൻറർ ഫോർ കൂടിയാട്ടം സെൻറർ വഹിച്ച പങ്ക് സ്മരണിയമാണ്. ഇതിന്റെ സ്ഥാപകരിൽ ഒരാളായ ഡോ. കെ.ജി പൌലോസ് എഴുത്തുകാരൻ , അദ്ധ്യാപകൻ, സംസ്കൃത സർവകലാശാല രജിസ്ത്രാർ, കേരള കലാമണ്ഡലം കൽപ്പിത സർവകലാശാല വൈസ് ചാൻസലർ എന്നീ നിലകളിൽ കേരളീയ സമൂഹത്തിൽ ശ്രദ്ധേയനാണ്. കൂടിയാട്ടത്തെപ്പറ്റി നിരവധി പഠനഗ്രന്ഥങ്ങൾ ഇംഗ്ലീഷിൽ അദ്ദേഹം രചിച്ചിട്ടുണ്ട്. മലയാളത്തിൽ കൂടിയാട്ടത്തെ സാമാന്യ ആസ്വാദകർക്ക് പരിചയപ്പെടുത്തുന്ന ഒരു ഗ്രന്ഥവും അദ്ദേഹം 2001 ൽ ഇൻറർനാഷണൽ കൂടിയാട്ട സെൻററിന്റെ ബാനറിൽ പ്രസിദ്ധികരിച്ചിട്ടുണ്ട്. പക്ഷേ ആ ഗ്രന്ഥം ഇന്ന് ലഭ്യമല്ല. ആ ഗ്രന്ഥത്തിന്റെ പരിഷ്കരിച്ച പുതിയ പതിപ്പ് ഇപ്പോൾ ഗ്രീൻ ബുക്ക്സ് പ്രസിദ്ധികരിച്ചിട്ടുണ്ട്. കൂടിയാട്ടം അഭിനയത്തിന്റെ തുടർച്ചയും വളർച്ചയും എന്ന ഈ ഗ്രന്ഥത്തിന്റെ പ്രസാധകർ തൃശ്ശൂർ ഗ്രീൻ ബുക്ക്സ് (ശാഖകൾ തിരുവനന്തപുരം, കോഴിക്കോട്, എറണാകുളം) ആണ്. മലയാളത്തിൽ കൂടിയാട്ടത്തെപ്പറ്റി രചിച്ചിട്ടുള്ള ഏറ്റവും ബൃഹത്തും മഹത്തുമാണ് ഈ ഗ്രന്ഥം , പുസ്തകമാകട്ടെ കെട്ടിലും മട്ടിലും മനോഹരം . കേരളത്തിന്റെ മഹത്തായ ഈ കലാപാരമ്പര്യത്തെ പറ്റി പഠിക്കാനുള്ളവർക്ക് ആധികാരികമായ ഒരു പഠനമാണ് ഈ ഗ്രന്ഥം. പേജ് 290.വില 350 രൂ ഗ്രീൻ ബുക്ക്സ് തൃശ്ശൂർ 91 487.2381066, 23810 39 ഡോ.കെ.ജി പൌലൂസ് 9846041205
2. Natyam, Nadakam, Rasam - June 2020
Published by Language Institute Thiruvananthapauram, Kerala
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3.Vayanayute Vazhikal - March 2021
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Vyangyavyakhya
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More InfoDr. 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
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Introducing VyangyaVyakhya
Nayasastra and its Regional Manifestations
Performative Tradition of Sanskrit Plays: Significance of Vyangyavyakhya
Indian Theatre Crisis of Identity
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.
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Intricacies of Aesthetics (KOCHI, May 4, 2013 )
A Go-To Guide for Ancient Wisdom
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.
Art of theatre
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 ...
Indian Theatre Crisis of Identity
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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