Abstract:
Koothu theatre is an art with the aesthetic technique, that links people who are involved in
social activities. This is formed through the connection of the people in their life style,
majorly centered on their activities. The role casting of Ravana has been structured as a role
against Rama in the story of Ramayana. There is a strong manipulation of depicting Rama
with good moral character, chastity and helping personality while structuring Ravana as
with merciless, injustice, lechery and as an aggression. In Koothu, the role of Ravana has
been created according to the dominant mentality of Aryans, depending on the Valmiki
Ramayana. It is said that the Valmiki Ramayana has blunted the bravery, culture and
reigning personality of Ravana, and it has strengthened the manipulative concept of Aryans.
Because, in the historical perspective, it is mentioned that Ravana is a brave person; a
devotee of Shiva; a Musician; a king who had reigned with ten crowns; an intelligent person;
possessed the knowledge in Physics, Literature, and Mathematics as well as had fraternal
affection. However, without considering this historical role casting, Ravana has been
depicted in an inappropriately structured social, cultural and political context. The objective
of this study is to expose the role of Ravana as really structured by the dominance of social
cultural politics. Seeking an answer to the question as to why was Ravana not structured as
a person with good moral character serves as the driving force behind this study. In order to
achieve this end, descriptive methodology and comparative methodology are being used to
tease out the lack of clarity. While the text of Rama Drama constitutes the primary source,
field study, publications/websites which showcase popular beliefs and the Koothu
performances have been used as secondary sources.
