| 1 | '''Marattam''' |
| 2 | |
| 3 | |
| 4 | aka Masquerade aka Faces and Masks |
| 5 | 1988 90’ col Malayalam |
| 6 | d G. Aravindan pc Doordarshan |
| 7 | s/lyr Kavalam Narayana Panicker based on his |
| 8 | own play c Shaji N. Karun |
| 9 | lp Sadanandan Krishnamurthy, Kalamdalam |
| 10 | Keshavan, Urmila Unni, Krishnankutty Nair |
| 11 | |
| 12 | |
| 13 | Panicker’s one-act play deals with the relation |
| 14 | of identification between an actor and his or |
| 15 | her role. Aravindan put the stress on the |
| 16 | relations between the viewer and the actor/role |
| 17 | dualities. The action takes place on the eve of |
| 18 | the last act of the Kathakali piece |
| 19 | Keechakavadham (The Killing of Keechaka). |
| 20 | The events surrounding the performance |
| 21 | uncannily echo events in the play. One |
| 22 | character even claims to have killed the lead |
| 23 | actor of the play because he detested the |
| 24 | character the man portrayed. However, the |
| 25 | three different accounts that are presented of |
| 26 | the same plot are never resolved or reconciled |
| 27 | with each other. Each version is accompanied |
| 28 | by a different style of folk-music: the tune and |
| 29 | rhythm of southern Kerala’s thampuran pattu, |
| 30 | the pulluvan pattu and the ayappan pattu. The |
| 31 | performers were drawn from the theatre and |
| 32 | from Kathakali. In southern India, with its |
| 33 | plethora of politicians using their film images |
| 34 | to acquire inordinate wealth and power, |
| 35 | Aravindan’s TV film bears on an eminently |
| 36 | sensitive political as well as aesthetic issue. |
| 37 | |
| 38 | [[Film]] |