Tolu Bommalata - M Nagabhushana Sarma

Tolu Bommalata - M Nagabhushana Sarma

movement-song-word
entertainment and moral
by commercialization sanctity is lost.
outsiders know, we dont
folk is also culture, not just classical
size
localization
chekka, todugu, sutram,karra,tolu - bommalata
padmini rangarajan - sphoorthitheater.commercialization
oral-maukika
motorized puppets
junmping jacks
puppetters of those ages were rick as they get donated a whole village for propogation of the art
lalita kalalu - shilpa,chitra lekhanam, natyam, sangeetam, sahityam
64 - chatu shasti
body puppets
dhaatupuppetfestival.org
shadow puppetry - important rural entertainment
marathi - aare community puppeteers
aares are known as aare kapus in andhra
ganesh- saraswati
gandholi gadu
eete bondilis in vizag
golla families in godavari delta
mostly wandering troupes
sringavarapukota in vizag
madhavapatnam near kakinada
aveti,thota,sindhe,anaparthi - family names
govindappa-surabhi family theater group
A wedding in a family, a ritual or festival in a local temple would never go without a puppet show.
dont mind walking 90 amadas to watch a puppet show.
movies and sophisticated dramatic productions have provided to be greater attractions to the village audience.
puppet figures are the only treasures for the puppet families.
consummate artists- exterpise to design and prepare puppet.
leather research institute of madras processes the entire production manually
puppet making cottage industry - nimmalakunta near hindupur, anantapur.
ganiyam - bag to hold the puppetsdraw an outline.
juttupoligaadu
thota tirupathaiah - samarlakota east godavarithota nagabhushanam
every new figure becomes an original one, indistinguishable from the rest.
jewellery and clothing
holes represent jewellery-circular , triangular
different colours
make parts and get together to make the puppet
hands contain 3 pieces
indicate gesturese in speech or suggest fighting in battle
1 head+1 body + 2 legs + (3+3) hands
head nad body are attached with a strong bamboo stick which is fixed in loops in the central part.
clean separation of good and bad based on stage position, color
manual control of object
coloring may not be needed also..just black and white and light can do wonders. ..tolpaava koothu
light through pours
for sheer aesthetic symmetry and beauty the old puppets have no equals.
puppeteer- maker and manipulator
sutradhaar
visual clarity by not mounting on stage 2 charactes of same color
performance season starts with ugaadi
4 figures of different sizes  of hanuman
all characters are not equal.
keelu bommalu, sutram bommalu
50 figures - ramayana
demon figures will be common
animals and birds - jataayu
trees and chariots
hanuman on trees
raavan on chariot
design of puppets resemble temple sculptures
crow with heads in different directions
puppet figures do not conform - ever changining
curtain is prerequisite.
raised platform
all night performances
dance puppets
puppet coloured on both sides
in olden days there were only 1 piece puppets...emphasis on story rather than body movements.
manipulator - singers.
keep the tala - vantha
group singing
puppettu
ranganatha ramayanamu
molla, kuchikonda
mynampati kameswara rao
change is the surviving principle of all folk forms.
mandharama exists - spontaneous improvisations
kethigaadu, bangarakkaa

aadi nata, antya surati..beginning in nata raga and ending in surati
major charactes entrance-dramatic
alive in the minds of the audience
gestures-keeping hand on moustache.
wordy duel..followed by exchanges of blows during fighting
mrudangam, shnkam
sundara kanda
busy all through summer
cinema-tv-radio-drama are other art forms.
decreasing interest
no patronage
puppeteering art must change.
teaching with the aid of puppets
make part of school curriculum as labs are.
national akademi of puppetry
curriculum for fine arts -drama schools.
start coaching classes for teacher puppeteers.
training center
fusing different mass media
Be the puppeteer.