Research paper
Abstract:
This paper analyses how folk creativity finds expression
in the context of village festival ambience by blurring many
genres. This paper also describes how framing devices of the
blurred genres are used to transport the audience between fiction,
ritual and reality. One of the most recognizable framing devices
of Therukoothu is the endless repetitive descriptions of Draupadi’s
humiliation in the Kaurava court as exemplified by the text and
performance of Kuravanchi.
Therukoothu1 as the theatre of Mahabharata occupies the psyche and the landscape of the villagers of northern Tamil Nadu during the summer months. Mahabharata, the great epic of the Bharata2 Dynasty and Ramayana are two Sanskrit Indian epics valued for centuries for their high literary merit, religious inspiration and teaching morals for everyday life. The Mahabharata was composed around 300 BC and received numerous additions until about 300 AD. It is divided into 18 cantos containing altogether about 200,000 lines of verse interspersed with short prose passages. The central
theme of Mahabharata is sibling rivalry and fratricide between Pandavas and Kauravas over the kingdom of Hasthinapura. The conflict begins when Drtharashtra, the eldest son of the Kuru dynasty has to pass over his crown to his younger brother Pandu because of his physical blindness. After reigning for a brief period Pandu renounces his kingdom due to his incurable illness and goes to forest with his two wives Kunti and Madhuri. The five sons of Pandu, the Pandava brothers (Dharmaraja3, Bhima, Arjuna, Nakula,
The tīmiti (fire walking) participants of the Mahābhārata festival use the words “āvēcam” and “aru ” to describe the ḷ experiences of people who get possessed. The Tamil words for trance, “āvēcam” and “aruḷ” are indicative of the emotional states men and women achieve prior to, during, and after fire walking rituals of Mahābhārata festival in Tiraupati1 Ammaṉ temples of Tamil
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