Kutiyattam and Kuttu are the ancient form of Sanskrit theatre still extant in Kerala. Kuttu or play is the generic name for these two varieties of Sanskrit drama performed in kuttampalams. This is a playhouse attached to temples. Kuttu proper involves solo storytelling, Kutiyattam i.e. `collective enactment`, the full-fledged staging. A reference to Kutiyattam in Cilappatikaram, the famous Tamil poem dated between the second century BC and fifth century AD, provides valid evidence that it came into existence about 2000 years ago. Certainly by the seventh century it had become quite popular. Two kings of the Chera dynasty in the tenth century, namely Kulasekhara Perumal and Cheraman Perumal, actively patronized its development.

In Kuttu, the actor presents tales from the epics, enlivening the narrative by impersonation through mime and gesture. The Chakkiyar caste was traditionally engaged in this profession. Hence it is also known as Chakkiyarkuttu. The soloist brings into his performance numerous references in Malayalam to contemporary social and political events, and criticizes satirically people`s shortcomings. Dramatic in word and action, he represents the suta i.e. storyteller of ancient times and appears in special outfits with headgear and make-up. A Nambiyar man plays the all-important mizhavu and a Nangiyar i.e. woman of the Nambiyar caste the kuzfntalam i.e. bronze cymbals. The mizhavu is a unique instrument, a big 1 m-high copper pot. Its mouth covered tightly with hide, fixed on a wooden stand called the mizhavana placed at the rear of the acting area. Behind this the Nambiyar sits on a stool and plays the mizhavu with his palms. Edakka i.e. an hourglass-shaped drum, kuzhal i.e. double-reed pipe, and sankhu i.e. conch are also added at times, giving the ensemble the name of panchavadyam i.e. `five instruments`. Men i.e. Chakkiyars and women i.e. Nangiyars act Kutiyattam, in kuttamodam theatres constructed in accordance with the prescriptions set down by the Natyasastra.

The raised stage that is not fully enclosed is always without curtains or sets. This is decorated with fruit-bearing plantains, bunches of tender coconuts, a measure full of paddy, among other things. A tall bronze oil lamp is ceremoniously lit in front. In the beginning the Nambiyar plays and recites the invocation, followed by arangutali, the sprinkling of water on die stage as a purificatory ritual by the sutradhara or stage manager. Then the main character is introduced. Kutiyattam presents only certain ankas or acts from classics by famous Sanskrit playwrights like Bhasa, Kalidasa, Sudraka, Harsha, and Bodhayana. It is believed that the first Sanskrit play in Kerala was written by Saktibhadra in the ninth century. The Chakkiyars perform many acts from his Ascaryacudamani i.e. wondrous Crest-Jewel, based on the Ramayana. Other important plays in the repertoire include Subhadra-Dhananjaya i.e. Subhadra and Dhananjaya and Tapati-Samvarana i.e. `Tapati and Samvarana`, both by the king Kulasekhara.

The acting preserves the fourfold conventional aspects of abhinaya. This can be mentioned as vacika or vocal, angika or physical, sattvika or psychological, and aharya i.e. decorative. Footwork and choreography are rhythmic, to the beat of percussion. Unlike Kuttu, the language is exclusively Sanskrit and the enactment a prolonged process over a number of nights, taking several hours each night through extensive physical elaboration of single words and lines. This is the most important part of acting Kutiyattam. For the vocal delivery of the text, the Chakkiyar actors evolved a stylized method using tonal variations to express emotions, indebted to the traditional rendering of the Vedas by the Nambudiri Brahmans in developing their dramatic articulation. Verse is delivered in musical modes suited to the respective sentiments. The elaborate make-up, along with flowery crown and various ornaments, uses a colour scheme symbolizing the characters` basic qualities. The Chakkiyars preserve detailed attaprakaras i.e. acting manuals and kramadipikas i.e. literally `light on procedure`, or production guides for their scripts. Before their first stage appearance, the actors undergo years of long and rigorous training in precise techniques of subtle physical movements fully utilizing the body`s expressive potential. The vidushaka has a prominent role, entrusted with the responsibility of adding rich humour through improvisation and contemporary allusion. Despite cultural pressures in the twentieth century, the community produced exemplary hereditary actors who kept the tradition alive, including the legendary Ammannur Chachu Chakyar, Painkulam or Koyappa Rama Chakyar, Mani Madhava `Chakiar, Ammannur Madhava Chakyar, and Moozhikulam Kochukuttan Chakyar. Of late, performers from other castes have also learnt the art.