Seevakacintamani which is supported to be a literary work of the 10th century A.D. contains more than forty five references about drama eventhough a Jain sage, who hated fine arts according to his religious integrity, is its author. There are sure indications in the epic to point out the highly esteemed position held by dramma in the society. Perunkathai and Kamparamayanam also speak about drama in a number of places to suggest that it was very popular during those times.

The begining dance and drama were one and the same and as time passed drama slowly emerged into separate art. Slowly it develops and reaches its present position. The various Koothus of the ancient Tamils have helped much for the development of drama.

The various Koothus of the Tamils

Many kinds of Koothus were in constant practice among Tamils. Adiyarkkunallar gives a list coupled them two by two in order to identify their diverse nature.

There are as follows:

They deal lwith satire and enlogy, royal themes nd folk-lore, musical themes and colloquial themes eulogy of God and general recreation, Ariyan lore and Tamil lore and natural description and local tradition respectively.

The various koothus as explianed by Adiyarkkunallar and their dramatic qualities as expounded by him clearly indicate the nature and position of ancient Tamil drama. His differentiation of Tamilkkoothu from Ariyakoothu evidently shows the individuality of Tamil dramatic tradition with specified conventions of its own.

Kuravaikoothu:

Kuravaikoothu was very popular among the ancient Tamils especially wiht those in Mullai and Kurinchi. Generally seven or nine men and women clang hands when dancing. They sand in praise of Mayon and Velan. The erotic and heroic sentiments were allowed to evolve as the action was in progress. In Neythal they sang in praise of their heroes. One posed to be the hero and the others his companions. In due course Kuravai was performed at various occasions of life. As seen in Mullaikkali when a valourous youth subdued a sturdy bull in the hope of winning his lady love, his success would be celebrated with Kuravaikoothu . As the dance proceeded deri-sonal hits would be pointed against the hero which of course would add to the charm and merriment of the show. Such interceding dialogues indicate the change of events that dance turned its way from rituals to actual life situations. Thereby slowly dancers were becoming actors and dance began develop into choral drama.

Veriyatal:

Veriyatal or Verikkoothu was a dance performed in praise of Lord Murugan by his devotee known as Velan. The name suggests the fierce nature of the action. At certain occasions women resorted to Kuravai surrounding Velan by clinging each others hands.

Thunakkaikoothu:

In Thunakkaikoothu a woman was seen dancing with elboues bend beating her sides. At that time her song was in praise of a hero who suffered death for a noble cause such as fighting for the country. There were instances of this Koothu performed by a group during ritual cermonies.

Vallikkoothu:

Vallikkoothu was the merry dance of the common people conducted by both males and females together as a token of gratitude to Goddess Valli for bestowing success in war and showering prosperity to the country. Vallikkoothu referred to in Tholkappiyam may be accepted as the earliest mention of Tamil drama in the existance literature. Perumpannatruppadai also makes a reference to it.

Vettuvavari :

Vettuvavari was in vogue among the people of palai when they were in ecstasy to divide the booty looted on the wayside. They danced before the alter of Goddess Korravai in a happy mood heavily drunk. Often times a girl was decorated as an impersonation of the Goddess. This fact reveals the make-up tendency of the ancients.

Terukkoothu:

In 'Therukoothus' kattiyankaran was the common character in all the plays. He was seen praising the rich in growing terms hoping to please their ears and to get money from him. With or without meaning any and everything were spoken on the stage. It was hightime for the Tamil ldrama to be released from the ugly hands of the street singers.

In many respects 'Terukkoothu' is similar to Pagavatha Mela of Melattur, the Kutchupudi of Andhra, Yakshagana of Karnataka and the Kathakali of Kerala. It can be compared with the Vidinataka of Andhra,, Payal Attam of Souch Canera, the Lalit of Maharashtra and the Pavai of Gujarat.

Cakkaikkuttu :

As expounded in Seelappatikaram was very popular among the Tamils. A man dressed himself in such a way that he appeared male in the right and female in care had to be taken or else he could not play properly, when one side moved the other stood mute. It was a much complicated performance and only skilled persons could resort to such a dance.

Cakkaikkuttu is the same as kotticetam or kotukotti the celestial dance of Lord Civan and Goddess Umai performed to extol the burining of Tiripuram. The main purpose of this kind of koothu was to please the kind and his people.

In Torpavai figures made out of skin were used to represent deifferent characters. They were made according to the needs of the action with the help of the strings tide to them.

Dramatic Adumbrations

Dramatic adumbrations are only street shows with a style of their own to suit the tastes of the common people. The forms of adumbration may change by the dramatic materials are limited to love and divinity.

Pallu have in its character roles the tiller folks insensate to to divinity. Ulattippattu referred to in pannirupattiayal may be the fore-runner of such a gener. Mukkutarpallu is considered to be the best though Tiruarur pallu is the earliest of its kind. There are serious discourses between the various characters excellently portraid in fine pieces of poetry. Songs in colourful language and playing upon words forms special features in building up of a pallu.

Kuravanji :

Kuravanji represents the life of the Kuravas in attractive terms. Divinity is treated properly. Kuravanji is unique in its construction and theme by the introduction of Kurathi and the duplication of the love theme. Pannirupattiyal reputes the ability of the Kuratti to know everything of past, present and future regarding the forunes of a person. The procession of the Lord, a Lady falling in love with him, the Kuratthi fortelling good fortune to her, the lady presenting the Kurathi and the Kuravan meeting the Kurathi after a long search are the important incidents found expression in a Kuravanji. In the frail structure of Kuravanci the meeting of Cinkan and Cinki after a petty quarrel and their mating with utmost intimacy and affection have been described with true calculation in very fine language powerful enough to attract all with their immediate appreciation.

Nonti Natakam :

Nonti Natakam is a kind of dance drama in which a lame man is provided with the main role of the action. Generally this kind of plays are written in a particular metre called nonticchinthu. Most of this kind reached the stage in the 18th century A.D. A man who indulged in evil activities like theft was punished by his limbs being cut off. He realised his past and begged for the mercy of God. By the miraculours help of God he regained his lost limbs and turned to be a new man to live a pious life. This is mainly the subject matter of Nonti Natakam. Thiruchentur Nonti natakam seems to be the best and the earliest. It is said that during festival days in the temple of Thiruchentur this was being enacted before a large gathering Cithakkathi Nontinatakam, Tirumalai Nontinatakam, Caattur nontinatakam, Tirukkaccur nontinatakam are few among them worth due consideration.

Kuluva Natakam :

Kuluva Natakam is another form of adumberation in which the Kuluvan who is the fowler's attendent is given prominence in the action. He is a serving type belonging to an ordinary race. The chief participants are the Kuluvan, Chingan and Chingi. Kottur kuluva Natakam is the only one available in print at present while Kurrala kuluva natakam rests in the manuscript form in U.Ve.Ca. Library at Tiruvanmiur. In these adumbrations a marked change in the growth of drama can be noted from dance to dance drama in a developed form of presentation on the stage before huge multitudes with land appreciation.

Isai Natakangal or Musical Plays

In the 18th century Musical plays entered the stage throughed with songs called Kirtanas. Most of them are puranic in thei contents. The earliest among them reached the ears of the audience on 1771 in the name of Rama Natakam by Arunachala kavirayar. There are more than 500 songs in various pans or ragas composed as Tipatai, Taru and Viruttam. There is only one line in prose in this volumnous work. Though this called as natakam, this is meant only for singing and not for acting. Following this Ramachandira kavirayar wrote Baratha Vilasam and Arangapillai brought forth Arichandra Vilasam.

Markanteyar Vilasam, Meyyarichandra Natakam, Puravara Chakravarthi Natakam, Uthira Ramayana Natakam are some the musical plays worth mentioning. In these plays the scenes of Kattiyankaran are found to pay obedience to the audience and to introduce the characters before their arrival. It is a sign of these plays stepping from the oration platform to the dramatic stage. Soon Kattiyangaran became the announcer of the change of scenes in advance. Arudhra vilasam by velayutha Muthaliyar is a typical musical play written in such a way to be acted on the stage. Songs are in the form of dialogues though most of them are arguments in a series of debates.