Talamaddale Procedures – A Primary Introduction

<<Talamaddale: A Reflection of Life

🪔 Talamaddale – A Living Art of Devotion

Talamaddale or Yakshagana—be it in the form of theatrical performance or pure narration—is not just an art; it is a form of worship. Devotion, purity, interest, spiritual awareness, and reverence are intrinsic elements of this art form, and they continue to be so even today.

While many readers may already be familiar with the general structure of a Talamaddale performance, let us now look more closely at how a single Puranic episode is presented using this unique medium.

Many poets have composed Yakshagana prasangas (episodes) in poetic form, suitable for both play and Talamaddale narration. Among them, Parthisubba holds an eminent place. However, for our illustration, we will draw from the works of Sri Manjunatha Bhatta Hosanadu, a revered Bhagavata and guide to many of us.

🪔 Beginning a Talamaddale Performance

Every Talamaddale begins with Guru and Ganesha stuti (invocatory verses). This is followed by the Nandi verse, which declares the theme of the day’s performance.

For today’s example, we choose a section from the Putrakameshti episode of the Shri Rama Mahime Yakshagana Ramayana. The Nandi verse here is a Bhāmini style composition praising Sage Valmiki:

“Ramachariteya baredu modadi | Ramananugariga danu bodhisi | Ramange kelisida Ramayanava Valmiki ||Ramaniyaka vritta rachana |Rama namoddhruta vilaasa vi |Rama yogige manidu peluve Rama mahimeyanu”

🪔 The Opening Segment: Indra’s Court

As per Yakshagana’s traditional presentation style, the episode unfolds with an invocation—commonly Indra’s court (Odalaga)—setting the cosmic scene.

This staging allows each character to present themselves with a brief introduction, often known as the Peethike (prologue). This helps the performer shake off personal tension, enter into the character, and engage the audience effectively. The peethike must be proportionate and mindful of the performance time constraints.

In this case, the episode opens with Indra’s celebration in his celestial court, and the first verses capture the joy and grandeur:

Sumanasaadhipa Indra | Olagavitta | Amita santoshadinda || Amaranāriyarāga kramadi nartisutire | Ramaniya roopa sambhramada sammōdadinda ||

🪔 The Meaning and Context of Indra

As the narrative develops, the actor portraying Indra must explain the background:

• The origin and significance of the title of Indra

• The structure of the celestial court Sudharma

• The authority and responsibilities of Devendra (Lord of Devas)

• Concerns regarding demonic threats to heaven

Such interpretations require rigorous understanding—both in Talamaddale and performance format. Now let’s explore Indra’s introductory prologue in prose style:

🪔 Peethike of Devendra (Indra):

Indra (to the celestial assembly): O guardians of the eight directions—Agni, Yama, Nirruti, Varuna, Vayu, Kubera, Ishanya—and the Vasus, O revered sages, seers, and kings of yore, your collective merit has stabilized the glory of Swarga (heaven). The worthy, by their virtuous actions on earth, ascend here. The sinful are destined for Naraka. Heaven and Hell are divine systems governed by the merit of earthly deeds. The name “Indra” is a title, not my personal name. I am Purandara by birth, currently holding the Indra post. I oversee Dharma across Swarga, Bhuloka, and Patala. Clouds are under my control; Vajrayudha is my weapon, Airavata is my mount.

Agni adds: Each of us has specific domains—mine is Tejovati, and I preside over sacrificial fires and accept offerings. My weapon is Shakti, and I ride a ram.

Yama: I do not go to Naraka for my sins. Instead, I am reborn on Earth. My role is to record lifespan, separate body and soul at death, and assign karma-based outcomes. My vehicle is a buffalo; my weapon is the Danda.

Indra concludes: Such celestial power is granted under the guidance of the Trimurtis. A person who performs 100 Ashwamedha Yagas gains Indraship for a Mahayuga. Presently, we are enjoying this reign, but must remain alert. Despite celestial joys—dance by Apsaras, songs of Gandharvas—we must not lose vigilance. For danger always looms…

What is that danger? (To be continued...)