On the Merits of Seeing, Studying, and Making Global Theatre

Clifford and Betty Jones write, in reference to experiencing Kathakali,

The reward is a heightened unfolding perception of a world never before imagined, a
theatre world magically, vibrantly, remarkably alive. The vigorous survival as a major
expression of literature and art, bridging the transformations of the past into the
changing present, is perhaps the simplest proof of its timeless reality. (101)
This statement rings true for all global theatre forms. How else would we be able to experience
such a foreign narrative of various aspects of a completely different society if not through
experiencing global theatre? By experiencing global theatre we are given a new perspective on
religion, society, class systems, infrastructure, history, literature, politics and much more. We
can then use these new ideas to further educate ourselves and add new dimensions to our own
art. I know that I, for one, have gained so much from simply researching Sanskrit theatre that I
would go so far as to recommend independent research on global theatre forms, outside of any
assigned project or paper. The benefits of global theatre, even if it cannot be seen or performed
by a person, can be gained just by interaction in any way.

I, as a costume designer, learned a completely different way of approaching designing

through researching Kathakali and Koodiyattam. As opposed to the somewhat Western idea of
designing a costume based on a characters personality or intentions, Kathakali and Koodiyattam
adhere to a strict caste system, even in theatre. The characters are divided into character types
and then subdivided even more into smaller sub categories. The characters are then ascribed
costume pieces based on this caste system. The costumes are also different among male and
female characters. However, each character that is similar within the caste system will look
similar in costume and makeup, which is something generally avoided in Western theatre. The
costumes also only exist to bring attention to the performers and support the performance, as
outlined in the Kathakali costume section of the web page. By researching these two obscure
forms that I once knew nothing about, I gained a new aesthetic to pull inspiration from, and a
desire to design either a Kathakali or Koodiyattam performance accurately and while adhering to
the strict traditional guidelines of the forms.
Speaking specifically of Sanskrit theatre, I was able to explore the society and religious
history of a historical period that was over one thousand years before I was born. Without my
exploration into Sanskrit theatre, I would never have been able to explore this world and explore
an art form that has existed since many eons before I was born, let alone practicing theatre. It is

through these forms that I found a link to a completely new world, new perspectives, new
themes and even new design aesthetics.
As a student at JMU, I have learned more in one year about the world around me simply
through taking theatre courses. Both of these courses explored not only global theatre, but global
themes, ideas, and aesthetics. I believe that the benefit of experiencing global theatre lies in
what a person gains from the experience. For example, as a student, I gained a completely new
perspective of the world that I live in and as a designer, I gained several different cultural and
thematic lenses to approach a work that I have never dealt with before.
The benefits of any type of experience with global theatre will create well rounded
theatre students, artists and audiences. By exposing young theatre artists to global theatre forms,
we can engage in cultures and experiences outside of our own, religions that either directly
conflict with ours or that we didnt even know existed, and societies that we have never and may
never get to experience firsthand. We learn to be globally mindful artists and experience modes
of theatre that seems very much removed from our concept of theatre, but in reality are very
similar.

Jones,Clifford R. and Betty True. An Introduction to the DanceDrama of Kerala. New York. American Society for Eastern Arts,1970.
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