Indian epics are replete with stories of the interplay of divine incarnations, human beings and animals. The characters and events in these works serve as guides for social conduct. Infused with Vedic wisdom, these narratives are easily understood even by those who are not aspirants for pure Vedic scholarship. The large number of Puranic episodes containing multiple characters led to the growth of visual presentations on stage like dramas, ballets and dance forms like Kathakali,.Bharatanatyam, Kuchipudi, Manipuri and Yakshagana.

All this led to the evolution of folk art with regional variations that command vast audience participation Folk art characters — heroes, demons or genies — are portrayed by artists with elaborate and colourful make-up. Humour was an important aspect. Specific humorous characters like the vidushaka or royal clown came into being. Vidushakas conveyed a lot of wisdom in their apparently idiotic sayings or gestures. In fact, they not only act as fools; they make the audience laugh and think at the same time.

A circus clown who attempts grotesque acrobatics and tumbles down often in the ring or trapeze with a scream is always a highly accomplished performer. In Kerala, as in some other regions, Sanskrit theatre underwent a transformation, thanks to the encouragement of the then rulers, the Perumals In the dancedrama Subhadra Dhanamjayam, three principal characters — Arjuna, Subhadra and the Vidushaka — were portrayed on stage, in theatres called Koothambalams located mostly in large.templesNaganandam is another such drama.

The dance-drama that developed in Kerala was called Koodiyatam, which means dancing together. Since characters in Koodiyatam spoke in Sanskrit, the vidushaka conversed in the local vernacular Malayalam so that most of the audience could understand. Whatever the vidushaka said or did would provoke hearty laughter during the Koodiyatam performance. To address a wider audience unfamiliar with Sanskrit, an offshoot from Koodiyatam popularly known as Chakyar Koothu came into existence. The characters for Chakyar Koothu are vidushakas who are solo performers.

The dance-drama that developed in Kerala was called Koodiyatam, which means dancing together. Since characters in Koodiyatam spoke in Sanskrit, the vidushaka conversed in the local vernacular Malayalam so that most of the audience could understand. Whatever the vidushaka said or did would provoke hearty laughter during the Koodiyatam performance. To address a wider audience unfamiliar with Sanskrit, an offshoot from Koodiyatam popularly known as Chakyar Koothu came into existence. The characters for Chakyar Koothu are vidushakas who are solo performers.

With the minimum of Sanskrit prose and poetry, the vidushaka expands each word to weave the story fabric in Malayalam, which is understood by every one in the audience In his narrations, which are often dramatic and exaggerated, the aim is to bring out the inherent absurdities in human nature. The idea is the listeners will naturally correct themselves if they have such weakness or deficiencies in them. It is like making you learn after you’ve had a good laugh — metaphorically, sweetening a.bitter pill.

Dry presentation of spiritual values may not be easily assimilated and may often appear boring to the listener and hence the recourse to humour and mirth. Humour makes life more interesting and livable. Today, we have laughter clubs all over. The writer has attended several assemblies where spiritually eminent personalities have spoken and even though the audience sits peacefully and silently, the intensity of the interest is often missing. The meetings are more like ceremonial ritual. Spiritualism, whether it is Vedantic, or yogic or devotional, can be better imbibed with a dose of humour free of the profane or obscene.

1. The various characters in the Indian epics are:

a)      Only animals

b)      Only humans

c)       Only incarnations

d)      Humans and incarnations

e)      Humans, incarnations and animals

2. The characters and events in the epics serve as

a)      Standards for social conduct

b)      Models for various dance forms

c)       Plots for various stage dramas

d)      Stories for ballets

e)      Humorous interludes to narrators

3. Which of the following is not true of the folk art?

a)      Heroes, demons and genies form its main character

b)      It is a modified version of various dance forms

c)       Vidhushaka plays the role of a narrator

d)      A circus clown is introduced as one of the characters to entertain the audience

e)      It commands vast audience presentation

4. The author compares a Vidhushaka to a circus clown mainly because both:

a)      Are apparently idiotic in their gestures

b)      Are wise and highly talented

c)       Are humorous in their actions or dialogue delivery

d)      Act as fools

e)      Make the audience laugh

5. Chakyar Koothu was designed mainly

a)      To encourage folk art

b)      To motivate Vidhushakas

c)       To attract local audience

d)      To promote Vedic wisdom

e)      To attract Sanskrit lovers

6. From the passage, we can deduce that Indians believe in:

a)      Will power and determination

b)      Correcting others mistakes

c)       Laughing at others’ follies

d)      Self discipline

e)      Self indulgence