[4] The fully developed style of Kathakali originated around the 16th century, but its roots are in the temple and folk arts (such as Krishnanattam and religious drama of the kingdom of the Zamorin of Calicut) of the southwestern Indian peninsula, which are traceable to at least the 1st millennium CE.

However, Kathakali differs in that it also incorporates movements from ancient Indian martial arts and athletic traditions of South India.

[1][5][citation needed] The traditional themes of the Kathakali are folk stories, religious legends and spiritual ideas from the Hindu epics and the Puranas.

[5] In modern compositions, Indian Kathakali troupes have included women artistes,[7] and adapted Western stories and plays such as those by Shakespeare.

[12][13][17] Dance and performance arts, states this ancient Hindu text,[18] are a form of expression of spiritual ideas, virtues and the essence of scriptures.

[21] According to Farley Richmond and other scholars, Kathakali shares many elements such as costumes with ancient Indian performance arts such as Kutiyattam (classical Sanskrit drama) and medieval era Krishnanattam, even though a detailed examination shows differences.

[24] The designs of these theatres usually matched the dimensions and architecture recommended as "ideal" in the ancient Natya Shastra, and some of them could house 500 viewers.

[25] Krishnanattam is dance-drama art form about the life and activities of Hindu god Krishna, that developed under the sponsorship of Sri Manavedan Raja, the ruler of Calicut (1585-1658 AD).

[25] Another related performance art is Ashtapadiyattom, a dance drama based on the Gita Govinda of the twelfth-century poet Jayadeva, told the story of Krishna embodied as a humble cowherd, his consort Radha, and three cow girls.

In both traditions, the performance happens in the front of a huge Kalivilakku with its thick wick sunk in coconut oil, burning with a yellow light.

[29][34][note 1] Typically, all roles are played by male actor-dancers, though in modern performances, women have been welcomed into the Kathakali tradition.

[37][38] Costumes have made Kathakali's popularity extend beyond adults, with children absorbed by the colors, makeup, lights and sounds of the performances.

[39] Seven basic makeup types are used in Kathakali, namely Pachcha (green), Pazhuppu (ripe), Kathi, Kari, Thaadi, Minukku and Teppu (red).

[11][40] Pachcha (green) with lips painted brilliant coral red portrays noble characters and sages such as Krishna, Vishnu, Rama, Yudhishthira, Arjuna, Nala and philosopher-kings.

Minukka (radiant, shining) with a warm yellow, orange or saffron typifies noble, virtuous feminine characters such as Sita, Panchali and Mohini.

[43] Men who act the roles of women also add a false top knot to their left and decorate it in a style common to the region.

[42] Teppu is for special characters found in Hindu mythologies, such as Garuda, Jatayu and Hamsa who act as messengers or carriers, but do not fit the other categories.

[44] The character types, states Zarrilli, reflect the Guṇa theory of personalities in the ancient Samkhya school of Hindu philosophy.

[46] These three Guṇas are sattva (goodness, constructive, harmonious, virtuous), rajas (passion, aimless action, dynamic, egoistic), and tamas (darkness, destructive, chaotic, viciousness).

Kathakali employs several methods: The play is in the form of verses that are metered and lyrical, sung by vocalists whose voice has been trained to various melodies (ragas), music and synchronized with the dance-acting on the stage.

[56] The late 17th century Unnayi Variyar, in his short life, produced four plays which are traditionally considered the most expressive of the Kathakali playwrights.

Recent productions have adapted stories from other cultures and mythologies, such as those of Miguel de Cervantes,[60] Johann Wolfgang von Goethe and William Shakespeare.

[62][63] The Kidangoor style is one of the two, that developed in Travancore, and it is strongly influenced by Kutiyattam, while also drawing elements of Ramanattam and Kalladikkotan.

[64] The Kalluvazhi style is second of the two, which developed in Palakkad (Olappamanna Mana) in central Kerala,[65] and it is a synthesis of the older Kaplingadan and Kalladikkotan performance arts.

[62][63] It is traditionally attributed to Unniri Panikkar, in a Brahmin household (~1850), and became the dominant style established in Kerala Kalamandalam – a school of performance arts.

[72][note 2] The theory and foundations of Kathakali are same as other major classical Indian dances, traceable to Sanskrit texts such as the Natya Shastra, but the expression style in each is very different and distinctive.

Kathak is an ancient performance art that emerged in North India, with roots in traveling bards retelling mythical and spiritual stories through dance-acting.

Both dance forms employ choreography, face and hand gestures traceable to the Natya Shastra, but Kathak generally moves around a straight leg and torso movements, with no martial art leaps and jumps like Kathakali.

For example, the Japanese Noh (能) integrates masks, costumes and various props in a dance-based performance, requiring highly trained actors and musicians.

[81][82] Jīngjù, a Chinese art of dance-acting (zuo), like Kathakali presents artists with elaborate masks, costumes and colorfully painted faces.