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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 )