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Three Broad Classifications: Indian folk theatre is categorized into three broad classifications of Ritual Theatre, Entertainment Theatre, and South Indian Theatre. There are such performances as Ramlila, Ramman, and Bhuta Aradhana, which are associated with religious festivals, and national beliefs. Nautanki, Maach, Naqal, and Padayani, as market-popular entertainment styles, combine storytelling, music and humor to delight the masses in the countryside. The uniqueness of forms such as Bayalata, Tal-Maddale and Pagati Veshalu are characterized by the devotional story telling and dance-drama forms. These theatres maintain oral traditions, local dialects and folk history, which enhances cultural cohesion and identity on the grass root level.

Key Highlights for RAS Mains

Classification of Folk Theatre in India

Category

Examples

Ritual Theatre

Ramlila, Ankia Naat, Ramman, Bhuta Aradhana

Entertainment Theatre

Nautanki, Maach, Naqal, Padayani

South Indian Theatre

Tal-Maddale, Bayalata, Pagati Veshalu

Regional Art

  • North India: Ramlila (U.P.), Nautanki (U.P., Haryana) Maach (Madhya Pradesh)
  • East India: Bengal: Jatra, Kashmir: Bhand Pather
  • South India: Yakshagana (Karnataka), Therukoothu (Tamil Nadu), Pagati Veshalu (Telangana)
  • West India: Bhavai (Gujarat), Tamasha (Maharashtra), Swang (Haryana)

Folk Theater of states

Folk Theatre

State/Region

Description

Bhand Pather

Kashmir

Satirical folk theatre using wit and parody; incorporates surnai, nagaara, and dhol; mostly performed by the farming community.

Bhaona

Assam

Derived from Ankia Naat; begins in Sanskrit and transitions into Brajboli/Assamese; showcases culture from multiple regions.

Bhavai

Gujarat

Predominant in Kutch and Kathiawar; mixes devotional and romantic elements.

Burra Katha

Andhra Pradesh

Narration by one artist and two assistants; uses "Burra" drum; oral storytelling with chorus and rhythm.

Chavittu Natakam

Kerala

Christian folk drama, also called stamping dance, originated in the 17th century.

Dashavatar

Konkan & Goa

Enacts the ten incarnations of Vishnu; performers wear stylized masks and makeup.

Daskathia

Odisha

Two narrators (Gayaka and Palia); tales of Shiva accompanied by wooden instruments 'Kathia'.

Garodas

Gujarat

Art form of the Garoda community; storytelling using painted pictures about romance and bravery.

Kariyila

Himachal Pradesh

Open-air night performances consisting of various skits and short plays.

Kutiyattam

Kerala

Sanskrit-based classical theatre with defined roles; recognized as UNESCO Intangible Heritage.

Krishnattam

Kerala

17th-century theatre sponsored by King Manavada consists of 8 Krishna-themed plays over 8 days.

Kuruvanji

Tamil Nadu

Dance ballet in Bharatanatyam style; love-themed, first composed by Thirukutarajappa Kaviyar.

Mudiyettu

Kerala

Ritual offering to Goddess Bhadrakali; performed in temples during Vrischikam (Nov–Dec).

Oja-Pali

Assam

Celebrated during the Manasa festival; Oja is lead narrator, Pali is chorus; religious themes.

Powada

Maharashtra

Ballads praising Shivaji’s heroism; sung by Gondhalis and Shahirs.

Raasleela

Uttar Pradesh

Krishna-based narrative folk drama mixing prose and music; early plays attributed to Nand Das.

Swang

Punjab & Haryana

Initially music-based; includes Haryanvi and Brajbhasha dialects; prose was later introduced.

Tamasha

Maharashtra

High-energy performances; female lead (Murki) leads the dance; includes classical music and gestures.

Therukoothu

Tamil Nadu

Draupadi-based stories; performed to invoke agricultural prosperity; includes a cycle of eight plays.

Villu Pattu

Deccan region

Bow-song musical theatre format; focuses on Ramayana stories.

Yakshagana

Karnataka

Open-air dance-drama portraying Mahabharata and Ramayana episodes; colorful costumes and music.

Features

  • Fusion of music, dancing and talking.
  • Local dialects, costumes and symbolic props.
  • Performed in open-air areas, or village squares.
  • Involves social messages, mythology and satire.

Purpose and Significance

  • Cultural Maintenance: Maintains traditions and oral tradition.
  • Mass Education: the spread of knowledge and values with the help of entertainment.
  • Community Bonding: Makes people more local and makes them participate together.

Conclusion 

It is a living folk theatre which depicts cultural diversity, spirituality and storytelling traditions of India. And it is a social teacher and cultural keeper in the country and regions. To preserve India as a heritage of intangible assets, it is important to look after these art forms

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