In the actual performance, first the drum is sounded and then the Nangiyar woman recites the invocatory verse, (vandana slokam). After that a purificatory ritual of sprinkling holy water on the stage is done by the Nambiyar. Then there is an interlude of orchestra, after which the dance ritual ceremony called Kriyachavittuka is performed by the Sutradhara. The next item is the stapana of the particular act. The main character is introduced in the next stage called Koothupurappadu in the background of the tense dramatic sense created by the full orchestra fury. Nirvahana, the nest part of the drama, follows. This itself consists of three phases, the Anukrama, the Samkshepa and the Vistara respectively. Purushartha follows in which clown (Vidushaka), caricaturing the moods, is the hero. This is a significant departure from tradition and a remarkable feature of Koodiyattom. The drama proper now begins sluggishly and leisurely through the long drawn out, detailed and elaborate abhinaya process.

The stage craft is simple, with hardly any stage setting. Koodiyattom is perhaps the oldest dance-drama in existence in India.

ASHTAPADI ATTOM
This was popular dance form based on the Gita Govinda of Jayadeva. It was more of a dramatic representation of the renowned lyrical play. Altogether there are only five characters, Krishna, Radha, and three females. This form is now almost extinct (instruments chenda, maddalam, elathalam, chengala)

KRISHNANATTOM
A refinement of Ashtapadiatoom, evolved by Manavedan, the Zamorin was Krishnanattom. The whole story of Krishna was cast into a drama-cycle which would need eight nights for serial production. Vilwamangalam, a Krishna devotee, helped in designing the costume of Krishna. The actors in this dance drama have to conform themselves to the ballet element and mimetic expression. The narrative song is left to the musicians.

Krishnattom was created as a votive offering and it survives in that capacity in the temple of Guruvayoor where it is still performed. The dance drama is based on the text Krishna-Geetaha which is in Sanskrit. Many of the characteristics of the earlier ritual folk dances such as Thiyyattom, Mudiyettu and Theyyam are seen in Krishnattom especially in the painting of the face in intricate patterns, and the use of masks and colourful, gorgeous costumes and head-dresses. The make-up costumes and ornaments used in Krishnattom are almost similar to that seen in Kathakali, though in Krishnanattom, some of the characters are seen using painted masks made of wood. The gestural language and abhinaya are not very well developed. More importance is given to pure dance (nritta) and the stress is always on group movements and group compositions. All the eight night plays are full of beautiful dances. In no other dance could be seen so many characters performing the same dance with the same facial expressions, eye movements, gestures, foot-work (and set to the same rhythm), with so much of co-ordination, and grace, e.g., Mullappoothutal in Rasalila (Sree Krishna with Gopies) Kaliyamardana Nritham etc.

Maddalam, elethalam and chengala are the musical instruments use. ( Next Page...)