UNIVERSITY OF CALICUT SCHOOL OF DISTANCE EDUCATION B.A SANSKRIT ELECTIVE COURSE VI SEMESTER SANSKRIT THEATRE OF KERALA QUESTION BANK 1. ----- is a form of Sanskrit theatre traditionally performed in Kerala 2. -------------- is a form of Sanskrit theatre traditionally performed in Kerala in Sanskrit language in Hindu temples. 3. ----------- is officially recognized by UNESCO as a Masterpiece of the Oral and Intangible Heritage of Humanity. 4. ---------- and ----------were among the dramatized dance worship services in temples of ancient India. ( Kutiyattam and Chakyar koothu, Kathakali and Kutiyattam, Kutiyattam and Nangiarkuttu, Nangiarkuttu and Chakiarkuthu) 5. Both find several mentions in ancient sangam literature of south. Which are they ----------- (Kutiyattam and Chakyar koothu, Kathakali and Kutiyattam, Kutiyattam and Nangiarkuttu, Nangiarkuttu and Chakiarkuthu) SANSKRIT THEATRE OF KERALA Page 1
6. Both in the epigraphs belonging to subsequent Pallava, Chera, Chola periods in Tamil Nadu. Which are they ------- (Kutiyattam and Chakyar koothu, Kathakali and Kutiyattam, Kutiyattam and Nangiarkuttu, Nangiarkuttu and Chakiarkuthu) 7. ---------- related to the dramatized dance worship services like Kutiyattam and chakyar koothu are available in temples at Tanjore, Tiruvidaimaruthur, Vedaranyam, Tiruvarur, and Omampuliyur. (books, Inscriptions, dramas, services) 8. They were treated as an integral part of worship services alongside the singing of tevaram and prabandam hymns. Which are they ( Kutiyattam and Chakyar koothu, Kathakali and Kutiyattam, Kutiyattam and Nangiarkuttu, Nangiarkuttu and Chakiarkuthu) 9. Which Pallava king was the author of the play called kailasodharanam in Tamil (Rajasimha, Ramavarma, Rajaraja, Ravisimha) 10. Who was the author of Kailasodharanam (Rajasimha, Ramavarma, Rajaraja, Ravisimha) 11. Rajasimha s play--------- (Kailasodharanam, Mattavilasa, Mudrarakshasa, Aascharyachudamani) 12. It is believed that, an ancient king of Tamil Chera dynasty, who ruled from Mahodayapuram (modern Kodungallur), introducing the local language for Vidusaka and structuring presentation of the play to well-defined units----. (Kulasekhara Varman Cheraman Perumal, Tholan, Rajasimha, Saktibhadra) 13. Who reformed Kutiyattam (Kulasekhara Varman Cheraman Perumal, Tholan, Rajasimha, Saktibhadra) 14. Who was the author of, Subhadraharana play (Kulasekhara Varman Cheraman Perumal, Tholan, Rajasimha, Saktibhadra) SANSKRIT THEATRE OF KERALA Page 2
15. Who was the author of, Tapatisamvarana play (Kulasekhara Varman Cheraman Perumal, Tholan, Rajasimha, Saktibhadra) 16. Kulasekhara Varman Cheraman Perumal s play- (Kailasodharanam, Subhadraharana Mudrarakshasa,Aascharyachudamani) 17. Kulasekhara Varman Cheraman Perumal s play (Kailasodharanam, Tapatisamvarana Mudrarakshasa, Aascharyachudamani) 18. Who helped for the presentation of Subhadraharana and Tapatisamvarana on stage. (Kulasekhara Varman Cheraman Perumal, Tholan, Rajasimha, Saktibhadra) 19. Which plays are till presented on stage. ---------- (Subhadraharana & Tapatisamvarana, Kailasodharanam & Tapatisamvarana, Subhadraharana & Mudrarakshasa, Aascharyachudamani & Tapatisamvarana) 20. Who wrote Ascaryacudamani ---------- (Saktibhadra, Kulasekhara Varman Cheraman Perumal, Tholan, Rajasimha) 21. Saktibhadra s work ------------ (Kailasodharanam, Tapatisamvarana Mudrarakshasa,Aascharyachudamani) 22. Nilakantha s work------------- (Kalyanasaugandhika, Kailasodharanam, Tapatisamvarana Mudrarakshasa, Aascharyachudamani) 23. Kalyanasaugandhika was written by ---------- (Saktibhadra, Nilakantha, Tholan, Rajasimha) SANSKRIT THEATRE OF KERALA Page 3
24. Bhagavadajjuka was written by--------- (Saktibhadra, Nilakantha, Bodhayana, Rajasimha) 25. Bodhayana s work ------------------- (Kalyanasaugandhika, Kailasodharanam, Tapatisamvarana Bhagavadajjuka, Aascharyachudamani) 26. Harsa s work ---------- (Kalyanasaugandhika, Kailasodharanam, Tapatisamvarana Bhagavadajjuka, Nagananda ) 27. Nagananda was written by ----------------- (Harsa, Bodhayana, Bhasa, Saktibhadra) 28. The Kutiyattam performance was performed in specially designed temples called ------ (ground, koothambalams, Stage, Temples) 29. --------------- is a percussion instrument that is played by a person of the Ambalavas Nambiar caste, accompanied by Nangyaramma playing the kuzhithalam (a type of cymbal). (Mizhavu, kuzhitalam, etakka, kurumkuzhal ) 30. The only surviving ancient Sanskrit drama theatre is ---------- 31. Which is preserved in Kerala by the Chakyar community. ---------- 32. Kutiyattam is a form of Sanskrit drama is thought to be at least old ------ (2000 years, 800 years, 1500 years, 489 years) 33. ---------- is one of the oldest living theatrical traditions in the world. 34. All major Sanskrit plays such as that of Bhasa, Sri Harsha, Shaktibhadra etc. are performed in ------- SANSKRIT THEATRE OF KERALA Page 4
35. Who choreographed and directed plays like Kalidasa's Abhijñānaśākuntala, Vikramorvaśīya and Mālavikāgnimitra; - (Māni Mādhava Chākyār, Kulasekharaperumal, Bhasa, Ammannur) 36. Guru Nātyāchārya Vidūshakaratnam Padma Shri was ( Māni Mādhava Chākyār, Kulasekharaperumal, Bhasa, Ammannur) 37. Bhasa's Swapnavāsadatta and Pancharātra for the first time in the history of -------- (Kutiyattam, Kathakali, Nangiarkuttu, Chakiarkuttu) 38. Who popularized Kutiyattam and rejuvenated the only surviving Sanskrit drama theatre in India. (Māni Mādhava Chākyār, Manmohan Acharya,Bhasa,Ammannur) 39. ------ is a modern Sanskrit playwright has written many plays and dance dramas. ( Māni Mādhava Chākyār, Manmohan Acharya, Bhasa, Ammannur) 40. Who wrote the Sanskrit play Purnanandam (Māni Mādhava Chākyār, Manmohan Acharya, Bhasa, Vidyadhar Shastri) 41. Who wrote the Sanskrit play Kalidainyam (Māni Mādhava Chākyār, Manmohan Acharya, Bhasa, Vidyadhar Shastri) 42. Who wrote the Sanskrit play Durbala Balam. (Māni Mādhava Chākyār, Manmohan Acharya, Bhasa, Vidyadhar Shastri ) 43. Vidyadhar Shastri s work --------------- (Purnanandam, Ascharyachudamani, Kalyanasaugandikam, Nagananda) 44. Vidyadhar Shastri s work (Kalidainyam, Nagananda, Sakuntalam, Kalyanasaugandukam) 45. Vidyadhar Shastri s work (Durbala Balam, Nagananda, Dutavakya) SANSKRIT THEATRE OF KERALA Page 5
46. Who was written the play Chitrangada- (Prafulla Kumara Misra, Vidyadhar Sastri, Manmohan Acarya, Bhasa) 47. Who was written the play Karuna (Prafulla Kumara Misra, Vidyadhar Shastri, Bhasa, Manmohan Acharya) 48. --------- is a book written by (late ) Nātyāchārya Vidūshakaratnam Padma ShriGuru Māni Mādhava Chākyār. (Natyakalpadrma, Nagananda, Dutavakya, Purnanandam) 49. Who was the ultimate exponent of Kutiyattam and Abhinaya (Mani Madhava Chakyar, Prafulla Kumara Misra, Manmohan Acharya, Bhasa) 50. Which work deals with all aspects of ancient Sanskrit drama theatre tradition of Kerala- Kutiyattam.---------- (Natyakalpadrumam, Dutavakya, Natyasastra, Nagananda) 51. Which work of Kutiyattam was first published in Malayalam (1975) by Kerala Kalamandalam, with financial assistance of Sangeet Natak Academi, New Delhi (Natyakalpadrumam, Nagananda, Natyasastra, Dutavakya) 52. Which monumental work serves as the reference to scholars and students. (Natyakalpadrumam, Nagananda, Natyasastra, Dutavakya) 53. The entire book is written in the old Sanskrit text style closely following Natyasastra.--------- (Natyakalpadrumam, Nagananda, Natyasastra, Dutavakya) 54. Both structure and content of the book illustrates the excellence of the author in both Sanskrit and Nātyaśāstra. Which book? (Natyakalpadrumam, Nagananda, Natyasastra, Dutavakya) 55. Which work of Kutiyattam was received the prestigious Kerala Sahitya Academy Award for the year 1975. (Natyakalpadrumam, Nagananda, Natyasastra, Dutavakya) SANSKRIT THEATRE OF KERALA Page 6
56. Which work of Kutiyattam has been translated and published in Hindi by Sangeet Natak Akademi, New Delhi. (Natyakalpadrumam, Nagananda, Natyasastra, Dutavakya) 57. Natyakalpadruma- theatrical study written by ------, the great Guru of Kutiyattam the traditional Sanskrit theatre. (Ammannur chakyar, Mani Madhava Chakyar, Bhasa, Bharata Muni) 58. The work Natyakalpadruma is divided into ------------- chapters. (5, 6, 8, 10) 59. Preface of the work Natyakalpadruma is written by renowned scholar ---- (KunjunniRaja, A.R. Rajarajavarma, Vadakkumkur, Manimadhava Chakyar) 60. The book Natyakalpadruma contains ----------- photos of the maestro along with many of his rare Kutiyattam photos. ( Navarasa, Kutiyattam, Nangairkuthu, Nataka) 61. Mani Madhava Chakyar begins his work with an introduction and a few benedictory and introductory verses written in ------------- language. (Malayalam, Sanskrit, English, Hindi) 62. Mani Madhava Chakyar s Guru ----------- (Pannisseri Sankaran Nampoothiripad, Ammannur Chakyar, Vallathole, Punnassery Sarma) 63. Mani Madhava Chakyar s Guru ( Rama Varma Parikshith Thampuran, Pannisseri Sankaran Nampoothiripad, Ammannur Chakyar, Vallathole, Punnassery Sarma) 64. Sage Bharata s work --- (Natyasastra, Natyakalpadruma, Nagananda, Dutavakya) 65. Nātyaśāstra was written by ------ ( BharathaMuni, Bhasa, Kalidasa, Mani Madhava Chakyar) SANSKRIT THEATRE OF KERALA Page 7
66. In the last stanza who compares his work to the Kalpadruma- the heavenly tree which gives everything requested. (Mani Madhava Chakyar, Bhasa, Bharatha, Saktibhadra) 67. In the last stanza, which work compares to the Kalpadruma- the heavenly tree which gives everything requested. (Natyakalpadruma, Natyasastra, Natankusa, Dhutavakya) 68. ------------------gives all details about Nātya that is Kutiyattam (Natyakalpadruma, Natyasastra, Natankusa, Dhutavakya) 69. Famous Abhinayas (acting) such a s Kailasoddhārana (lifting of Kailasa), Pārvatī Viraha (separation of Pārvatī) etc. are also included in chapter--------- (2, 4, 3,1) 70. Details of wearing different costumes and different types of abhinaya are also given in the -------- chapter. (1, 2, 3, 4) 71. Slokas used by Vidūshaka are mostly in ------ (Sanskrit, Malayalam, English, Hindi) 72. ------work as a whole contains all details regarding the traditional classical temple art. (Natyakalpadruma, Natyasastra, Koothambalangalil, Avanthika) 73. One can see the footsteps of the great scholar, great artist and great Achārya who lived on the stage for about 80 golden years, in this commendable work. Who was the eminent Scholar (Mani MadhavaChakyar, Bhasa, Bharatha, Saktibhadra) 74. 0ne can see the footsteps of the great scholar, great artist and great Achārya who lived on the stage for about 80 golden years, in this commendable work. Which is the work? (Natyakalpadruma, Natyasastra, Koothambalangalil, Avanthika) SANSKRIT THEATRE OF KERALA Page 8
75. Mani MadhavaChakyar s skill in all aspects of Kutiyattam especially the unparalleled----------- are world famous. (Abhanaya, Rasa, Netrābhinaya, Natya) 76. Nātyakalpadruma of Mani MadhavaChakyar, the translation was done by (P.K Govindan Nambiar, Kunjunni Raja, Bhamaha, Prafulla Kumara Misra, K.P.Narayanapisharoti) 77. He is a Chakyar Koothu- Kutiyattam artist & son of Guru Māni Mādhava Chākyār. Who? (P.K Govindan Nambiar, Prafulla Kumara Misra, Manmohan Acharya, Ammannur Chakyar) 78. The ------------, a section of people who earned their livelihood doing traditional temple duties in Kerala, are the earliest actors. (chakyars, poets, Nairs, Ambalavasins) 79. Every word of the play is interpreted by theoretical ---- (slokas, gestures, Bhavas, Rasas) 80. The gester uses -------language to explain the Sanskrit passages. (Malayalam, English, Sanskrit, Hindi) 81. ----------- has influenced the later classical dance dramas Krishnanattam and Ramanattam 82. The greatest classical drama, Kathakali originated from ----------- (Kutiyattam, Drama, Nangiarkuttu, Chakiarkuthu) 83. Kutiyattam has traditionally been an exclusive art form performed in special venues called ----- in Hindu temples (Kuthambalams, stage, temples, ground) 84. How many days are taken for the Kutiyattam performance to complete. (84, 90, 15, 100) SANSKRIT THEATRE OF KERALA Page 9
85. The earlier participation of women as performers in Kutiyattam are ------- (Nangairs, Chakyars, nairs, actresses) 86. Who was known as the creator of Kutiyattam in the present form. (Kulasekhara Varma Cheraman Perumal, Mani Madhava Chakyar, Bharatha, Bhasa) 87. Who is the author of Aattaprakaram (Kulasekhara Varma Cheraman Perumal, ManiMadhava Chakyar, Bharatha, Bhasa) 88. Which work is the most authoritative work on the art form Kutiyattam (Attaprakaram, Natyasastra, Natyakalpadruma, Mudrarakshasa) 89. Which is the the most authoritative book on the science of acting. (Attaprakaram, Natyasastra, Natyakalpadruma, Mudrarakshasa) 90. The "grammar" of performance of Kutiyattam is entirely based on the stipulations of work. (Attaprakaram, Natyasastra, Natyakalpadruma, Mudrarakshasa) 91. Traditionally, ------- is presented by "Chakyars" (a sub caste of Kerala Hindus). 92. The only musical accompaniment played by Nambiar men is. (Mizhavu, Sanku, Idakka, Chenda) 93. In Kutiyattam later ---- also play instead of Mizhav. (Mizhavu, Sanku, Idakka, Chenda) 94. Soorpanakhangam is based on a sequence in ----- (Ramayana, Mahabharatha, Natyasastra, Natyakalpadruma) SANSKRIT THEATRE OF KERALA Page 10
95. Jatayuvadham is a part of the drama called----- (Aascharyachoodamani, Ravanavadha, Sakunthala, Mudrarakshasam) 96. Who wrote Aascharyachoodamani (Saktibhadra, Bhasa, Bharatha, Bhamaha) 97. The story of Jatayuvadham Kutiyattam is from the ----- (Ramayana, Mahabharatha, Natyasastra, Natyakalpadruma) 98. ----------might be the only classical theatre form in which women have played a role throughout its history. 99. During the ritual period of Kutiyattam, starting from the fourteenth century, when it was performed inside the Kuthambalams --------- did not appear on stage. (Women, artist, nata, Chakyar) 100. The soloist narration of Sri Krsna's life by a female character in the Kutiyattam style is called ------ 101. From the sixteenth century onwards------- was annually represented in some temples as a ritual. 102. Who expanded Kutiyattam to include artists and audiences belonging to any caste, religion, or culture, and female performance was revived. (Guru Painkulam Rama Chakyar, Mani Madhava Chakyar, Ammannur Chakyar, P.K. Govindan Nambiar) 103. Traditionally the text enacted by Nangiarkuttu has been the --- (Sree Krishna Charitam, Sree Krishna Vilasam, Sreeramacharitham, Ramayana) SANSKRIT THEATRE OF KERALA Page 11
104. Sree Krishna Charitam consists of ----- verses. (216, 219, 316, 261) 105. The narration of Nangiarkuttu is usually in ---------- language. (Malayalam, Sanskrit, English, Hindi) 106. The characters of Nangiarkuttuthu direct spoken lines may be in -------- (Malayalam, Sanskrit, English, Hindi) 107. Nangiarkuttu was originally a form of temple offering and its full execution took ------------------- consecutive days. 12, 14, 15, 30) 108. In many aspects Nangiarkuttu is related to ------------, in which the Nangiar actresses take the female roles. (Kutiyattam, Kathakali, drama, Chakiarkuthu) 109. -----------is a solo form, in which a single actress both acts as the mimetic narrator and assumes all the roles of the story. 110. It is the chief musical instrument of Nangiarkuttu in addition to the cymbals played by the singer. Which is that (Mizhavu, Chenda, Idakka, Sanku) 111. -------- is the sole example of an unbroken tradition of Sanskrit drama, which has already been discussed. 112. The first Malayali writer from Kerala, who wrote his own Sanskrit dramas, was ------------- (11 th century). (KulasekharaVarma, Ravivarma, Rajasimha, Marthanda varma) 113. He is said to have also written a Kutiyattam manual, the Aattaprakaram. Who? (KulasekharaVarma, Ravivarma, Rajasimha, Marthanda varma) SANSKRIT THEATRE OF KERALA Page 12
114. ---------- contributed immensely to the evolution of a strong feminine narrative of the ancient art form, Kutiyattam. (Margi Sathi, Usha Nangiar, Painkulam Rama Chakyar, Mani Madhava Chakyar) 115. ------------- set up first the department of Kutiyattam, who (Margi Sathi, Usha Nangiar, Painkulam Rama Chakyar, Mani Madhava Chakyar) 116. He was the first to perform Chakyar Koothu for All India Radioand Dooradarshan.Who? (Margi Sathi, Usha Nangiar, Painkulam Rama Chakyar, Mani Madhava Chakyar) 117. The Nangyar Koothu is an allied traditional art of ------an age-old Sanskrit drama tradition of India. 118. Naagaanandam is written by --------- (Sri Harsha, Bhasa, Saktibhadra, Kulasekharavarman) 119. Subhadraadhananjayam is written by --------- (Sri Harsha, Bhasa, Saktibhadra, Kulasekharavarman) 120. Tapatisam varanam is written by -------- (Sri Harsha, Bhasa, Saktibhadra, Kulasekharavarman) 121. Mattavilaasa Prahasanam of --------- (Mahendra Vikrama, Sri Harsha, Kulasekharavarman) 122. Saktibhadran s work --------- (Aascharyachoodaamani, Mudrarakshasa, Naganada, Natyasastra) 123. Codes of performance instructions of Koodiyattom -------- (Kramadipikas, Aattaprakarams, Rasaas, Bhavas) SANSKRIT THEATRE OF KERALA Page 13
124. Kuttampalams have been constructed according to the rules laid down in - ----- (Natyasastra, Natyakalpadruma, Aascharyachoodaamani, Mudrarakshasa) 125. The inside of a Kuttampalam is divided into --------- portions. (2 equal, 3 equal, 4 equal, 5 equal) 126. The first non Chakyar to study Kutiyattam ----- (Ammannur Madhavachakyar, Ammanur Kuttan Chakyar, Mani Damodara Chakyar, Kalamandalam Sivan Nambudiri) 127. The first artiste outside the Nangiar community to study Kutiyattam (Margi Sathi, Usha Nangiar, Kalamandalam Sailaja, Kalamandalam Girija) 128. A Reference in Natankusa indicates that ------------ was not used by Cakyars. (Sakuntala, Duthavakya, Surpanankam, Mudrarakshasa) 129. The authoritative encyclopedic treatise on all aspects of Kutiyattam ------- (Manimadhaveeyam, Koothambalangalil, Natyasastra, Natyakalpadruma) 130. He brought Chakyar Koothu and Kutiyattam outsides of Hindu temples. Who? (Kunjunni Raja, K.P. Narayanana Pisharoti, Mani Madhava Chakyar, Dr. C. Rajendran) 131. It was he who started demonstrations in Kutiyattam to popularize the same. Who? (Kunjunni Raja, K.P. Narayanana Pisharoti, Mani Madhava Chakyar, Dr.C.Rajendran) 132. He is known as the master who gave eyes to Kathakali (Kunjunni Raja, K.P.Narayanana Pisharoti, Mani Madhava Chakyar, Dr. C. Rajendran) SANSKRIT THEATRE OF KERALA Page 14
133. This book is considered the encyclopedia of Kutiyattam. (Manimadhaveeyam, Koothambalangalil, Natyasastra, Natyakalpadruma) 134. Mani Madhava Chakyar s biography (in Malayalam), -------- (1999). (Manimadhaveeyam, Koothambalangalil, Natyasastra, Natyakalpadruma) 135. Natyakalpadrumam was written by-------- (Kunjunni Raja, K.P. Narayanana Pisharoti, Mani Madhava Chakyar,Dr.C.Rajendran) 136. Traditional Sanskrit theatre of Kerala was the book of-. (Kunjunni Raja, K.P. Narayanana Pisharoti, Mahendra Vikrama, Dr. C. Rajendran) 137. Kuthambalangalil was written by -------------- (Kunjunni Raja, K.P. Narayanana Pisharoti, Mahendra Vikrama, Bharatha) SANSKRIT THEATRE OF KERALA Page 15
ANSWERS 1. Kutiyattam. 2. Kutiyattam. 3. Kutiyattam. 4. Kutiyattam and Chakyar koothu 5. Kutiyattam and Chakyar koothu 6. Kutiyattam and Chakyar koothu 7. Inscriptions 8. Kootiyattam and Chakyar koothu 9. Rajasimha 10. Rajasimha 11. Kailasodharanam 12. Kulasekhara Varman Cheraman Perumal 13. Kulasekhara Varman Cheraman Perumal, 14. Kulasekhara Varman Cheraman Perumal 15. Kulasekhara Varman Cheraman Perumal 16. Subhadraharana 17. Tapatisamvarana 18. Tolan. 19. Subhadraharana and Tapatisamvarana 20. Saktibhadra 21. Ascaryacudamani 22. Kalyanasaugandhika 23. Nilakantha 24. Bodhayana 25. Bhagavadajjuka 26. Nagananda 27. Harsa 28. koothambalams. 29. Mizhavu 30. Kutiyattam 31. Kutiyattam. 32. 2000 years 33. Kutiyattam 34. Kutiyattam. 35. Māni Mādhava Chākyār 36. Māni Mādhava Chākyār 37. Kutiyattam. 38. Māni Mādhava Chākyār 39. Manmohan Acharya 40. Vidyadhar Shastri 41. Vidyadhar Shastri 42. Vidyadhar Shastri 43. Purnanandam 44. Kalidainya 45. Durbala Balam. 46. Prafulla Kumar Mishra 47. Nātyakalpadrumam 48. Māni Mādhava Chākyār. 49. Nātyakalpadrumam 50. Nātyakalpadrumam 51. Nātyakalpadrumam 52. Nātyakalpadrumam 53. Nātyakalpadrumam 54. Nātyakalpadrumam 55. Nātyakalpadrumam 56. Nātyakalpadrumam 57. Māni Mādhava Chākyār. 58. eight 59. Sri Kunjunni Raja. 60. Navarasa 61. Sanskrit 62. Pannisseri Sankaran Nampoothiripad 63. Rama Varma Parikshith Thampuran. 64. Nātyaśāstra 65. Bharatha Muni 66. Mani Madhava Chakyar 67. Natyakalpadruma 68. Nātyakalpadruma. 69. 2 nd 70. 2 nd 71. Malayalam 72. Nātyakalpadruma 73. Nātyakalpadruma 74. Mani MadhavaChakyar SANSKRIT THEATRE OF KERALA Page 16
75. Netrābhinaya 76. PK Govindan Nambiar- 77. PK Govindan Nambiar 78. chakyars 79. gesture. 80. Malayalam 81. Kutiyattam 82. Kutiyattam 83. koothambalams 84. forty days 85. Nangiars, the women members of Nambiars 86. Kulasekhara Varma Cheraman Perumal, an ancient King of Kerala 87. Kulasekhara Varma Cheraman Perumal, an ancient King of Kerala 88. Kulasekhara Varma Cheraman Perumal s book "Aattaprakaram" 89. Bharatha Muni s Natyasastra 90. Bharatha Muni s Natyasastra 91. Kutiyattam 92. Mizhav 93. Idakka 94. Ramayanam' 95. Aascharyachoodamani of Sakthi Bhadra 96. Sakthi Bhadra 97. original Ramayanam text. 98. Kutiyattam 99. women 100. Nangiar kuttu 101. Nangyar kuttu 102. the purappatu or entry, nirvahanam or recapitulation/enactment of past events 103. Sree Krishna Charitam (Story of Krishna). 104. 216 sloka 105. Sanskrit 106. Prakrit or in malayalamm 107. 12 108. Kutiyattam 109. Nangiarkuttu, 110. Kutiyattam 111. Natana Kairali, led by Sri G. Venu (Venuji). 112. Kulasekhara Varma 113. Kulasekhara Varma 114. Painkulam Rama Chakyar, the guru 115. Mani Madhava Chakyar 116. lateammannur Madhava Chakyar and Paonkulam Raman Chakyar 117. Kutiyattam 118. Sri. Harsha. 119. Kulasekharavarman 120. Kulasekharavarman 121. Mahendra Vikrama Pallavan 122. Aascharyachoodaamoni 123. Kramadipikas 124. Bharata s Natyasastra. 125. two equal 126. Kalamandalam Sivan Nambudiri: 127. Kalamandalam Girija 128. Sakunthala 129. Natyakalpadruma 130. Mani Madhava Chakyar 131. Mani Madhava Chakyar 132. Mani Madhava Chakyar 133. Natyakalpadruma 134. Manimadhaveeyam. 135. Mani Madhava Cakyar. 136. Dr. C. Rajedran 137. Panditaratnam K.P. Narayana pisharoti. Reserved SANSKRIT THEATRE OF KERALA Page 17