S1R1 201703101710010

Approach to revive Tholpavakoothu
Case of narrative architecture

Introduction Types of narratives
Linear Narrative START EVENT 1 EVENT 2 EVENT3 END
Non - Linear Narrative

START EVENT 1 EVENT 2 END
Quest Narrative
PROTAGONIST GOAL
Priyashi Valia 201703101710010

Introduction TRANSLATION OF NARRATIVES
Architecture and Narrative Architecture and Literature
1.THEME
NARRATIVE
SUPPORTS
ARCHITECTURE
2. BACKSTORY
3.IMAGERY
ARCHITECTURE
ARCHITECTURE
AND
SUPPORTS
NARRATIVE 4.CHARACTERS
NARRATIVE
ARE SINGLE
ENTITY

Introduction FOLK THEATRES OF INDIA
FOLK THEATRES
IDENTIFIED BY UNESCO
BHAND PATHER
SELECTED
KARIYILA
NAQAL MUDIYETTU - KERELA
RAMMAN OJAPALI
TANG TA RAMMAN - UTTARAKHAND
NATA SANKEERTANA
RASLILA RAAS LEELA
SWANG NAUTANKI ANKIYA NAT KUTIYATTAM - KERELA
SWANG
CHHAU
RAMLILA
GARODA
BHAVAI
AKHYANA
NOMINATED
MAANCH
PANDAVANI NAUTANKI - UTTAR PRADESH
WARI LEEBA
NAACHA
DASHAVTAR - MAHARASHTRA AND GOA
JATRA
NACHA - CHATTISGARH
POWADA DASKATHIA SHADOW PUPPET
TAMASHA CHHAU
KEERTANA ODISSI
CHAMADYACHA MUGHAL TAMASHA
BHULIYA STATES WITH MOST
DASHAVTAR
TIATR BURRA KATHA/ HARIKATHA
VEEDHI NTAKAM
NUMBER OF FOLK
YAKSHAGANA
PAGATI VESHALU
THOLU BOMALATA THEATRES
BAYALATA
KERELA
KOODIYATTAM TERUKKUTTU
MUDIYETTU KURUVANJI ASSAM
KALARIPAYATTU VILLU PATTU
KATHAKALI
THEYYAM
ANDHRA PRADESH
KRISHNAATTAM
KAKKARISI NATAKAM
Tholpavakoothu

“Theatre is one of the fields where rural-
urban dichotomy is manifested the most.
The city theatre today is not a natural
development of traditional or folk theatre
in the urban setting as it should have been.
It is rather a new theatre having its base on
western theatre whereas the traditional
village theatre has retained most of its
indigenous characteristics.”
BADAL SIRCAR

Introduction criteria for selecting
GENERAL DISCRIPTION CURRENT SCENARIO
STUDY OF FOLK
ORIGIN THEATRES THE PLAY
TYPES THE STORY

Shadow Puppets INTRODUCTION
screen puppets light source puppeteer MOVABLE CENTRAL ANIMAL HIDE

LIMBS CONTROL

Shadow Puppets WORLD OVERVIEW
ORIGIN AND EXPANSION

TURKEY
CHINA
INDIA
INDONESIA

Shadow Puppets CHINA
Originated during the Han dynasty and receibed

patronage suring the reign of Emperor Kangxi and
the Manchu rulers
Narrates the stories of different folklore and

contemporary dramas
Includes almost 20 types of musical instruments, a

singer and a pupeteer
Is more of a folk theatre used by the working class

as a source of entertainment ans for the spread of
knowledge
The Chengdu chinese shadow puppet museum

was established in 2004 to collect, preserve, study
and display chinese shadow puppets

Shadow Puppets INDONESIA
The pupeteers known as Dalaang are believed to be able to

Wayang comes from the word “ma Hayang” meaning a
communicate to the unseen world, the ability of the Dalaang to
journey towards the land of spirituality.
perform many different voices is a big part of the show.
It is said to have origins in the thalubomalata, the leather

puppets of southern India. The art of shadow puppetry The stories are usually drawn from the Hindu epics the
probably spread to Java with the spread of Hinduism. Ramayana and the Mahabharata
Yogyakarta is one of the best places to experience this The Wayang museum occupies the site of an Old dutch
Javanese art. church It has a collection of the various kinds of wayand
along with a theatre and workshop area

Shadow Puppets INDIA
ORIGIN OF PUPPETERY IN
INDIA
PUPPETERY
SUTRADHAR
NATYASHASTRA
Like the tradition itself that has

evolved to stay relevant, puppets have
changed hands, puppeteers have Tholu bommalata
changed tribes, tribes have moved and
Chamadyacha
wars have taken them, in Indian the bahuliya

puppets have left their Maharashtrian
home and migrated south
Togalu Ravanachhaya
The stories narrated are mostly from
the indian epics of Ramayana and gombeyaata
Mahabharata.
Language of the narration and style of Thol bommalata

puppets difer from state to state Tholapavakoothu

Tholpavakoothu INTRODUCTION
Tholpavakoothu is a form of shadow puppetry that is practiced in

Kerela.
This art form is especially popular in the palakkad, Thrissur and

Malappuram districts of kerela.
It began as a ritual dedicated to Bhadrakali and was performed in

Devi temples in specially built theathres called Koothumadams.
Origin
Tholpavakoothu
2000 year old

compositions
Ramayana by
Kambhar
Tamil along with

Sanskrit and Malyalam

Tholpavakoothu THE STORY
Bhadrakali fought Dharika when Lord rama was

fighting the demon kind Ravana
Godess Bhadrakali is disheartned to miss the triumph

of Lord rama and the subsequent release of Sita, the
beloved wife of Rama.
The gods decided to stage the story of Rama and

Ravana in the form of Tholpavakoothu.
Hence, the performance is usually held besides the

temple of Goddess Bhadrakali who is beleived to
be watching the play and bless the community.

Tholpavakoothu THE STAGE
Red tiled roof

Ayapudava
(white)
wooden rafters
faces the image
of the goddess
Patala
(black) Raised above

the ground level
Length:
Width:
Height:
11.50 m 3.8m 1.53 m

Tholpavakoothu THE PROCESS
STEP 01
STEP 02
STEP 03
Single peice of wood is cut from the tree
STEP 04
STEP 05 The peices are boiled with 10 liters of water for

2-3 days to produce 1 liter of pain
STEP 06
Mixing the paint with Neem paste to make it

thicker
STEP 07

Tholpavakoothu THE SEQUENCE
CHANTATIONS
LIGHTING OF OIL LAMP
APPEARANCE OF BHRAMIN CHARACTERS
NARRATION OF STORY OF PREVIOUS DAY
RECITING OF THE PLAY
PRAYER

LITERATURE REVIEW
NARRATIVE THEORY
NARRATIVE AS A NARRATIVE AS A NARRATIVE AS A

SEQUENCE OF DISCOURSE COMPLEX
EVENTS ARTEFACT
1.VALDIMIR PROPP MIEKE BAL ROLAND BARTHES
2.CLAUDE LEVI STRAUSS 2. SEYMOUR CHATMAN 2. UMBERTO ECO
3. TZVETAN TODOROV 3. JEAN FRANCOIS LYOTARD

RESEARCH STATEMENT
How will narrative architecture play a part in the
revival of folk theatre?
How will Shadow puppets be promoted in today’s
scenario?
Preserving the art form along with providing
economic stability to the people of the
community.
Can an interface be developed which will help
sustain the artists along with their art?

RESEARCH METHODOLOGY
TOPIC
NARRATIVES FOLK THEATRE
NARRATIVE THEORY NATYADHARMI LOKDHARMI
NARRATIVE AS ANALYSIS
DESIGN TOOL
RELEVANCE
SPATIAL
NARRATIVES
FOLK THEATRE IN
URBAN CONTEXT
NARRATIVES AS A
TOOL IN
ARCHITECTURE VULNERABILITY
RESEARCH QUESTION
PURPOSE
NATURE OF PROJECT
PURPOSE
DESIGN ACTIVATES DESIGN FACILITATES

REMEMBERED OR IN-THE-MOMENT
ASSOCIATED STORIES STORY IMAGINING IN
IN THE USER THE USER
DESIGN FACILITATES
NARRATIVE
DESIGN STRUCTURES NARRATIVE AS TOOL

THE USER TO UNDERSTAND AND
EXPERIENCE OVER NARRATIVE EMPATHIZE WITH
TIME AS A NARRATIVE USERS
IN DESIGN
NARRATION
DESIGN DELIVERS
SUPPORTS THE
THE NARRATIVE
DESIGN PROCESS
THE DESIGNER
DESIGN IS USES NARRATIVE
ACCOMPANIED BY A ELEMENTS IN THE
NARRATIVE DESIGN PROCESS
EXTERNAL TO THE AS A TOOL TO
OBJECT SPARK
IMAGINATION AND
CREATIVITY

Nature and Program
Nature of project Broad Program
To provide a space for the PERFORMANCE

pupeteers to display their art to a OPEN OR SEMI OPEN CLOSED OR A MORE
larger audience in a more urban THEATRE SPACES FOR FORMAL AREA FOR
setting creating spaces for their AN INFORMAL THE PERFORMANCE
essential needs for the sustanence PERFORMANCE
of the art while generating more
awareness
preservation of the materials and DISPLAY MAKING
aartifacts handed down to throught DESIGN PROGRAMME OPEN AND ENCLOSED
the generations of the community. STRUCTURES THE SPACES TO CARRY
therefore preserving the rich USER EXPERIENCE
OVER TIME AS A
OUT THE PROCESS OF
cultural heritage of India NARRATIVE
PRODUCING LEATHER
PUPPETS AND
NATURAL PAINTS
Encouraging the younger
generation to learn the art and take
it up as a profession, attempting to SHOPS WORKSHOP
preserve and continue the tradition DESIGN IS WORKSHOPS FOR THE
ACCOMPANIED BY A VISITORS AS WELL AS
NARRATIVE EXTERNAL THE TRAINING OF
TO THE OBJECT NEW PUPETEERS

Criteria for case study
PERFORMING ARTS
FOLK THEATRE NARRATIVE

PROGRAMME ARCHITECTURE
TRIBAL COMMUNITY SHADOW PUPPET CENTERS

NCPA, MUMBAI
Entry 3
INTRODUCTION
Project Entry 4
NCPA, Mumbai
Location
NCPA Marg, Nariman
Point, Mumbai,
Maharashtra 400021 Entry 5
Architect Entry 2
Ar. Phillip Johnson
Entry 6
Primary
road
Secondary
road
Entry 1

N.C.P.A CONTEXT
Sea face
Arcadia
building
Earnest
Marine
house Drive
Hoechst
building
Bhaktawar Building The Oberoi

N.C.P.A SPATIAL ORGANIZATION
Little Theatr
Jamshed Bhabha E H
theatr J
Performance G
Tata Theatr
spaces F
Experimental theatr
Dance theatr K
M
Central open spac
Sunken garden
Box offic
Basement parkin P O N
Service block Membership
C
departmen Q
Administration
A
library and stuart life
collectio B
Other facilities Cafetreri
Corporate offiic
Parimal art gallery
Performance Service block Other facilities Circulation

spaces

N.C.P.A
Capacity Purpose
960 The auditorium boasts

excellent acoustics,
meticulously
devised by Cyril Harris,

making it ideal for music,
dance and drama.

N.C.P.A
Capacity Purpose
1,109 Proscenium theatre equipped with

modern stagecraft, excellent
acoustics and sight-line suitable
for productions of opera, ballet,
musical and large-scale corporate
shows.

N.C.P.A
Capacity Purpose
267 Its unique 'black box' auditorium is

the perfect platform for innovative
theatre productions as well as
small-scale dance and music
performances. It also doubles up
as a teaching and workshop
space.

N.C.P.A
Capacity Purpose
114 Equipped with a multipurpose

auditorium, a state-of-the-art
recording studio and a listening
area, this space is perfect for
promising young musicians,
dancers and poets to showcase
their skills. It is also an ideal
venue for film screenings, talks
and seminars

N.C.P.A
Capacity Purpose
Intimate space that gives every

patron of dance a chance to
observe, focus and appreciate
performances to the fullest. It also
serves as a venue for classes,
workshops, film screenings,
lectures and seminars.

N.C.P.A
Capacity Purpose
Located adjacent to the

Jamshed Bhabha Theatre and
Experimental Theatre.
Suitable for grand, formal
receptions with capacity for
seated dining.
Capacity Purpose
Located next to the Dance

Theatre Godrej. A Characterful
reception space that can also be
used as a forum for small-scale
performances and gatherings,
with stepped seating leading
down to a performing area.

PRITHVI THEATRE
Project
Pritvi Theatre
Location
20, Janki Kutir
Apartment
Architect
Ar. Ved Segan
Entry 1 Secondary Tertiary

road road
Residential Apartments

PRITHVI THEATRE
Need for a unique theatre space - a

space where the intimate and
compelling actor/audience
relationship, not unlike that of
traditional Indian folk theatre, could be
rediscovered.
To promote professional theatre,
Hindi Theatre primarily, by
providing and managing a well-
equipped Theatre space at very
reasonable costs, with all technical
facilities.
To subsidise and promote aspiring

and deserving stage artists,
technicians, researchers, etc.
To host and conduct workshops.
To provide rehearsal and

workshop spaces
To create a theatre resource centre

and research library
To provide educational assistance

to theatre workers and their
children.
PRITHVI THEATRE
Capacity Purpose
200 Such an arrangement should also be ideal

for music recitals, plays , rehearsals and
workshops

COMPARATIVE ANALYSIS
CONTEXT CONTEXT
NCPA is located within a Prithvi cafe lies in a
commercial contect and in residential area of the
the city center mumbai surburbs
CIRCULATION CIRCULATION
the orientation of the entry of With only one performance
the different theatres face space the whole space feels
the street making the more introverted along with
structure more extroverted the cafe and bookstore
and lacking in internal
connections between
different spaces
CHARACTER OF SPACES CHARACTER OF SPACES

The theatres are more formal in The theatre is smaller and
nature. Large seating spaces aimed at removing the
and varied structures for the procenium paving the way for
different needs make it more a more intimate actor-
accessible to the performers audience relationship
COMPARATIVE ANALYSIS
USER GROUPS USER GROUPS
NCPA sees more experienced Prithvi theatre caters to more

and proffessional performing smaller and experimental
groups
performing groups
The audience is more urbane The audience mostly

in nature being located in the comprises of students and
city center there is certain local residents.
difference in the income
group of the audience
THE REACH
Project
The Reach
Location
2700 F St NW,
Architect
Ar. Steven Holl
e morial
l n m
Linco
Washington monument
c
Potma
river

THE REACH

THE REACH
Genser’s
research
Steven Holl
CHARACTER John F. Kennedy
IMAGE The Reach
BACKSTORY Life of J.F.K
THEME Phenomenology
& typology
Created with the exact length and

width of the PT-109, the motor
torpedeo boat that John F. Kennedy
commanded as a lieutanant during the
world war II, the pool has a decked
edge with the same mahogany planks
as the famous vessel
A famous saying “ When we go back The 35 ginko trees were planted to

to sail or twatch it, we are going symbolize John F Kennedy’s
back from whence we came” has position as the 35th president , their
been translated to an outdoor seasonal falling leaves giving us a
floating stage establishing a poetic symbolism
connection to the river which was
lost in the initial design

THE REACH

CRITERIA FOR SITE SELECTION
Proximity to tourist spots Kochi biennale route
Historical SITE SELECTION

context Accessibility
Accessible Population
from Shornur

SITE SELECTION
Bazaar road Bazaar

Fort kochi - 1.7 km road
Mattancherry
palace -1.2 km
Mattancherry
palace -1.2 km Veli
Veli
Indian Naval Maritime
museum -1km
Portugese
Museum- 2km
Fort kochi -2km
Edakochi
Fort kochi - 10 km
Kerela Folklore Edakochi
museum - 3 km

SITE SELECTION
Bazaar road Bazaar

2.5 km road
Veli
2.5 km
Edakochi
10 km Veli
Veli
St. John Pattom road

Edakochi
Indira Gandhi road
POPULATION
32<43 PPHa (2001)
ACCESSIBLE Edakochi
FROM SHORNUR
134 km

S1R1 201703101710010

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

S1R1 201703101710010

Uploaded by

Copyright:

Available Formats

Approach to revive Tholpavakoothu

Case of narrative architecture

Linear Narrative START EVENT 1 EVENT 2 EVENT3 END

Non - Linear Narrative

Priyashi Valia 201703101710010

Architecture and Narrative Architecture and Literature

Priyashi Valia 201703101710010

Priyashi Valia 201703101710010

Priyashi Valia 201703101710010

GENERAL DISCRIPTION CURRENT SCENARIO

TYPES THE STORY

Priyashi Valia 201703101710010

screen puppets light source puppeteer MOVABLE CENTRAL ANIMAL HIDE

Priyashi Valia 201703101710010

ORIGIN AND EXPANSION

Priyashi Valia 201703101710010

Originated during the Han dynasty and receibed

Narrates the stories of different folklore and

Includes almost 20 types of musical instruments, a

Is more of a folk theatre used by the working class

The Chengdu chinese shadow puppet museum

Priyashi Valia 201703101710010

The pupeteers known as Dalaang are believed to be able to

It is said to have origins in the thalubomalata, the leather

Priyashi Valia 201703101710010

Like the tradition itself that has

wars have taken them, in Indian the bahuliya

Language of the narration and style of Thol bommalata

Priyashi Valia 201703101710010

Tholpavakoothu is a form of shadow puppetry that is practiced in

This art form is especially popular in the palakkad, Thrissur and

It began as a ritual dedicated to Bhadrakali and was performed in

2000 year old

Tamil along with

Priyashi Valia 201703101710010

Bhadrakali fought Dharika when Lord rama was

Godess Bhadrakali is disheartned to miss the triumph

The gods decided to stage the story of Rama and

Hence, the performance is usually held besides the

Priyashi Valia 201703101710010

Red tiled roof

(black) Raised above

11.50 m 3.8m 1.53 m

Priyashi Valia 201703101710010

STEP 05 The peices are boiled with 10 liters of water for

Mixing the paint with Neem paste to make it

Priyashi Valia 201703101710010

LIGHTING OF OIL LAMP

APPEARANCE OF BHRAMIN CHARACTERS

NARRATION OF STORY OF PREVIOUS DAY

RECITING OF THE PLAY

Priyashi Valia 201703101710010

NARRATIVE AS A NARRATIVE AS A NARRATIVE AS A

Priyashi Valia 201703101710010

Priyashi Valia 201703101710010

NARRATIVES FOLK THEATRE

NARRATIVE THEORY NATYADHARMI LOKDHARMI

DESIGN ACTIVATES DESIGN FACILITATES

DESIGN STRUCTURES NARRATIVE AS TOOL

Priyashi Valia 201703101710010

To provide a space for the PERFORMANCE

Priyashi Valia 201703101710010

FOLK THEATRE NARRATIVE