Yakshagana is a classical folk art form of the state of Karnataka in India mostly popular in the districts of Uttara Kannada, Shimoga, Udupi, Dakshina Kannada and Kasaragod district of Kerala. This would be considered to be a form of opera in western eyes. Actors wear costumes and enact the various roles. Traditionally, Yakshaganas would go on all night. It is sometimes simply called as Aata? in both Kannada and Tulu (meaning play). Yaksha-gana literally means the song of a Yaksha. Yakshas were an exotic tribe mentioned in the Sanskrit literature of ancient India. Yakshagana is the traditional theatre of Karnataka and one of the great dance drama forms of India. The plays are a unique blend of stylistic elements from Sanskrit drama (notably the use of chorus and the clown figure), songs that were traditionally performed in the temple courtyards and village squares of the region and themes particularly battles and acts of heroism – from the great epics MAHABHARATA and RAMAYANA.
The result is an astonishingly rich combination of classical music and singing, refined choreography and ancient texts. But it also goes for pure, unashamed spectacle, with vigorous dancing blood-and – guts fight scenes, special effects, glittering costumes and towering head-dresses which give it a robust and earthy folk character. The atmosphere created by the simultaneous use of two artistic languages-folk and classical-is one of the most fascinating aspects of this exceptional theatre form. Yakshagana is fully developed, mature theater form with its music, improvised dialogue, costumes and dance.Yakshagana, like many other forms, defies neat classification into categories like folk, classical, rural. It can be included into each of these, or all of them together, depending upon our line of approach. Being a theater form, unlike a dance form, it is more plural and dynamic. And hence it exhibits many types and varieties inside itself. However, Yakshagana can be rightly called a traditional form. Primarily it is a name given to the one prevailing in Coastal and Malnad areas of Karnataka, though in fringe forms like Doddata are also called by the same name often, especially recently.
Experts have placed the origin of Yakshagana from the 11th Century to the 16th Century. Earliest limit is fixed by a finding by Vidwan Bannanje Govindacharya who says a legend goes to show that Sage Narahari Thirtha (c, 1300) started a Dasavathara Ata performance and a troupe in Udupi and later this spread to other places and grew into what we call Yakshagana today.Anyway, Yakshagana must have been an established form by the time of famous Yakshagana poet Parthisubba (1600) who wrote the Ramayana in Yakshagana. Because he is said to be a Bhagawatha (singer) himself and is believed to have founded a troupe, and probably he is the formulator of the Tenkuthittu (Southern style) of the art. Troupe centers like Koodlu and Kumbla in Kasaragod District, and Amritheshwari, Kota near Kundapur claim having a troupe three to four centuries ago. So we can safely assume that this art form had taken shape by about 1500. However, what we see today as Yakshagana, must have been the result of a slow evolution, drawing its elements from ritual theater, temple arts, secular arts like Bahurupi, royal courts of the time and artists imaginations – all interwoven over period.
Yakshagana is actually in the form of a poetic story that is narrated by the BHAGAVATA(Singer) the beginning is always with the ODDOLAGA(Traditional style of entering a character.) First entry of any characters is very important. There the character type is communicated to the audience (Hunter, King, Hero, Demonic Character etc.) through Nritta or pure dance and also used for other set of dances, like war, journey, hunting etc. In other situations, depending on the rhythm of the song, the actor composes the dance appropriately, using his experience, talent and imagination.
The Dialogue in yakshagana is quite unique because it is not written, but is totally impromptu and improvised. The headgear and make-up suggest different character types. The make up and costumes are undoubtedly one of the most attractive features of Yakshagana. The ornaments are made of softwood, which is carved and decorated, with mirrors and golden colored paper. The Bhagvatha (singer) the player of MADDALE and CHENDE are called the HIMMELA. In the past the Shruthi box was used along with them. Now days, Harmonium is used for that purpose. The Narrator as well Sutradhar is . His task is to narrate the story through songs, introduce the characters and sometimes to converse with them. Today 25 to 30 rags are used in Yakshagana. Another interesting facet of Yakshagana is the its use in puppetry. Evidence shows that there were more than 30 string puppet troupes in the undivided Dakshina Kannada district during the period 1910 – 1915 in places like Basrur, Barkur, Kokkarne, Mudabidri etc. The puppetry in Yakshagana style is interesting as the presentation is highly stylized and adheres strictly to the norms and standards of Yakshagana.