Raisun Mathew1 & Dr Digvijay Pandya2
1Doctoral Research Scholar, Department of English, Lovely Professional University, Punjab, India, Email: raisunmathew@gmail.com, orcid.org/0000-0003-3427-0941
2Associate Professor and Research Supervisor, Department of English, Lovely Professional University, Punjab, India, Email: digvijay.24354@lpu.co.in, orcid.org/0000-0002-5985-9579
Volume 13, Number 3, 2021 I Full-Text PDF
DOI: 10.21659/rupkatha.v13n3.28
Abstract
The cultural and ritual performance of Theyyam in Northern Kerala, considered as a reflection of the war cry against the caste system and oppression, conducts subversion of the social hierarchy. The chosen deity by the performer for a transitory symbolisation expresses the collective outrage of the oppressed and exploited people. This research paper enquires about the anti-structural characteristics exhibited by the performance of Theyyam. In the context of Richard Schechner’s performance theory, it attempts to trace the characterisation of Mikhail Bakhtin’s carnivalesque, Victor Turner’s liminality and social drama in the transitional performance of Theyyam that mostly relies on interim separation and reintegration. The expression of antipathy to the hierarchy in Bakhtinian carnival, the anti-structural emphasis in Turnarian liminality, and the deconstructive-reconstructive stages in social drama elucidate the symbolic delineation of the performance of Theyyam. The analytical findings of the paper derived from the discussion of the three concepts reveal that the performance of Theyyam is rooted in its anti-structural characteristics. The performer is subject to continuous alteration in the identity that intermediates the idiosyncrasy between the deity and the human being. It symbolises the temporal transition from the oppressed to the equivalent status of the dominator that occurs as part of counter-culture, through status reversal and inversion.
Keywords: carnivalesque, liminality, performance studies, social drama, Theyyam.
