Yashagana is the generic name of a common form of dance-drama characterizing the rural theatre of four South Indian states Andhra Pradesh, Karnataka, Tamilnadu and Karnataka. The Veethinatakamu of Andhra Pradesh, Kathakali of Keralam Terukuttu of Tamilnadu and Yakshagana of Karnataka have the same spirit of the theatre presentation of epic episodes in scenes of song, dance and costume through more secular themes can also be sometimes witnessed. In Karnataka it assumes various titles and forms like Ata, Dashavathara Ata, Bayalata, Bayalunataka, Mela, Doddata, Sannata etdc. Kathakali is a form in Kerala where the function of the dialogue is taken over by standardized mudras.

In the  Coastal districts of Karnataka – Uttara Kannadam, Udupi and Dakshina Kannada – two distinctive styles of Yakshagana are prevalent, the Badaguthittu or Northern style of the Uttara Kannada and Udupi Districts  and the Tenkuthittu or Southern style of the new Dakshina Kannada District. The musical style, the costumes, the musical style, the costumes, the musical instruments, the dance patterns are markedly different in the two schools, but all the elements of the theatre are present in them.

Yakshagana blends elements of music, dance, mime, costumes and dialogue in such an exquisite manner that it certainly forms a total theatre. Coming down as a heritage since the 15th century. Yakshagana has been perfected as a complete theatrical form being played for six months in a year to regale, instruct and edify the rural masses. Themes or ‘prasangas’ are usually drawn from Hindu epics like the Ramayana, the Mahabharatha and the Bhagavatha. Gorgeoous costumes befitting the epic hroews have been designed by anonymous artistes of yore. The music of Yakshagana, relying on South Indian and North Indian classical music styles, has preserved district characteristics of its own. Songs written by folk poets and set in the style of Yakshagana have the qualities of functional and mood music interspersed with a flavour of their own. Simple dance steps are worked out fully in a few traditional pieces of choreography to create a wonderworld of fantasy. Dialogues, spoken extempore, give exposition of the characters and spellbound. A touch of contemporary reality is given by the clown `Hasyagara’ who wags his tongue at a rustic level. The plays commencing around 9.00 p.m.  last until the early dawn and may look longish but are not considered tedious. The loudness of the Chande, the high-pitched drum, the shriek of the Rakshasa and the music of the Bhagavath in the 4th Octavo are sure to keep the interest from falling in the middle of the play.

A Living Theatre

In Karnataka there are many varieties of Yakshagana, some played intermittently and some continuously, some dealing with epic characters, some others having secular themes, love stories and romances. Artistes are drawn from among the rural people: oilmen, farmers, carpenters, temple-workers etc. Thirty years ago few had formal schooling, but now-a-days one can see pundits employing their verbal felicity to impress and astound the audience. Until the 1940’s the performances were free for all, being played free at the command and expense of the local landlord. A space of 16’x12’ area marked in the dried up paddy field served as the Rangasthala or the stage to which the audience trekked from around 10 to 12 kns after dinner having received invitation from the loud beating the Chande or the drum. The troupes were usually financed by the Temples and the fee was very small, as small as 3 or 5$ for a single all night performance excluding cost of a day’s food to the troupe. During the last forty years much rain has fallen in Dakshina Kannada and many of the old patterns have been washed away. There are still 3 or 4 temple troupes performing  free but they attract few first rate artistes. The latter are found in the commercial troupes or Tent troupes where wages and incomes have increased. Popular enthusiasm rules unabated in spite of tickets. Critics point out that quality has suffered what with the glare of publicity, electricity replacing oil-wicks, flattery replacing appreciation by knowledgeable connoisseurs. Mandarthi, Marnakatte, Kamalashile, Amritheshwari and Sowkoot are a few of the Temple troupes performing today in Badagu-thittu; Kateelu and Dharmasthala troupes are among those raised by temples in Thenku-thittu. Among the noted Tent-troupes of Badagu-thittu may be mentioned Saligrama and Perdoor and Karnataka Yakshagana Sabha, Mangaladevi Yakshagana Mandali, Kadri Manjunatheshwara Mela are among the best known in Thenku-thittu. From November to May next year, dayli performances are given in scattered village centres by all these troupes.

The Tradition

Though originally a rural form of theatre Coastal Yakshagana developed over the years into a fairy sophisticated form of dramtic presentation which could rival its artistic quality and popularity the two major dramatic presentations on the state, Bharatanatyam and professional drama. Of course it could never become classical with standardized Mudras or gestures as in Bharatanatyam or Kathakali. The extempore dialogue which is woven into the scenes between actors, who often change their roles on the stage and the innovations in singing and acting give it immense scope for perpetual renewal and hence never does the performance become stale or stagnant. Effective voice training could make the songs and dialogue harmonize with the vigorous dance steps and gorgeous costumes succeed in transporting the spectators to a spectacle of fantasy and imagination.

The ushering in of modern technology and its application in all walks of life led to a gradual change in the performance of Yakshagana. The electric lights replaced oil lamps and threw too much light on all aspects of make up and costume, including strands of jute used as plaits of hair or the tainted teeth of a Rakshasa. The amplifying system has led to music dangerously bordering on a noise pollutant and a source of disturbance to the environment. The need to compete with the professional theatre led to unnecessary changes in the open-air stage. The backdrop was introduced with scenes and scenery. Instead of the traditional cotton garments in the costume, gaudy silk or polyester fabric came to be used. The concept of traditional colour contrast was seriously disturbed. Dialogues came to gain undue importance, relegating the music and dance to the background. Excessive dramatic effects like bringing in live elephants on the stage for scenes like Gajendramoksha, or scenes of Bharatanatyam or a folk dance like fishing were introduced for the sake of novelty and have become a part of the strategy to attract crowds. Though the trick works to a certain extent, it soon results in the degeneration of the art into a series of gimmicks to draw crowds.

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