Intercultural Adaptations of Shakespeare’s Lady Macbeth in Kerala: Assimilation and Juxtapositioning of Lady Macbeth in Jayaraj’s Veeram and Ettumanoor Kannan’s Macbeth Cholliyattam https://doi.org/10.5281/zenodo.12671919 – The Criterion: An International Journal in English

Intercultural Adaptations of Shakespeare’s Lady Macbeth in Kerala: Assimilation and Juxtapositioning of Lady Macbeth in Jayaraj’s Veeram and Ettumanoor Kannan’s Macbeth Cholliyattam
https://doi.org/10.5281/zenodo.12671919

Author(s): Shefin. S

DOI: https://doi.org/10.5281/zenodo.12671919

Volume 15 | Issue 3 | June 2024

Pages: 456-466

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The Criterion: An International Journal in English Vol. 15, Issue-III, June 2024 ISSN: 0976-8165
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https://doi.org/10.5281/zenodo.10448030
Intercultural Adaptations of Shakespeare’s Lady Macbeth in Kerala:
Assimilation and Juxtapositioning of Lady Macbeth in Jayaraj’s Veeram
and Ettumanoor Kannan’s Macbeth Cholliyattam
Shefin. S
Research Scholar,
Department of English and OELs,
Dr. Harisingh Gour Central University,
Sagar. (M.P.) India.
Article History: Submitted‐31/05/2024, Revised‐20/06/2024, Accepted‐23/06/2024, Published‐30/06/2024.
Abstract:
Shakespeare’s plays have undergone diverse and even unexpected adaptations or
rewrites since the 17th century. The experimental adaptations of William Shakespeare’s play
Macbeth, which have transcended temporal and spatial bounds, exemplify its enduring
relevance. Shakespeare’s works have been widely performed in diverse ways, reflecting the
rich tapestry of Indian traditions. Shakespeare’s plays have been modified, transformed, altered,
restructured, and successfully presented in various forms of entertainment, including traditional
presentations, contemporary theatre, and cinema, throughout the past two centuries. This paper
aims to analyse two distinct adaptations and performances of Shakespeare’s Macbeth in India,
examining them from diverse angles. This paper aims to analyse the creative and innovative
adaptation of a classical literary text set in Scotland to two distinct Indian settings, both
aesthetically and culturally. Specifically, it examines the transformation of the play Macbeth,
originally from 16th century Scotland, United Kingdom, into two different Indian productions:
Macbeth Cholliyattam (2009) by Ettumanoor Parameswaran Kannan, and Veeram (directed by
Jayaraj, 2016), which seeks to connect the play with 13th century Kerala, India. Various
contemporary ideas rooted in the field of translation studies will be employed to analyse these
adaptations or appropriations. The objective is to investigate the manner in which
Shakespeare’s literary creations are analysed and transformed within many cultural
frameworks. The objective is to comprehend how these interpretations mirror the distinct
perspectives and values of every culture.
Keywords: Intercultural theatre, Kathakali, Shakespeare, Macbeth, Translation Studies.
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https://doi.org/10.5281/zenodo.12671919

Intercultural Adaptations of Shakespeare’s Lady Macbeth in Kerala: Assimilation and Juxtapositioning of Lady
Macbeth in Jayaraj’s Veeram and Ettumanoor Kannan’s Macbeth Cholliyattam
www.the-criterion.com
https://doi.org/10.5281/zenodo.10448030
Introduction
Shakespeare Adaptations in Regional Indian Cinema
In India, cinema holds a significance akin to that of a religious cult for the people.
Indian filmmakers have extensively adapted William Shakespeare’s plays. The term Bollywood
is used to categorise all film productions from India. However, this definition oversimplifies
the situation by failing to acknowledge the extensive presence of filmmaking in the
subcontinent, which encompasses other regional cinema hubs like Telugu Cinema and
Malayalam Cinema. The breadth of diversity within India’s film industry is too extensive to be
included in one word, such as Bollywood((Kishore et al.2-4). The term “Bollywood” has
varying interpretations among individuals. Academic conferences employ a broad
interpretation of the term to encompass Indian cinema, although European television
programmes showcasing Indian films may limit its definition to the mainstream genre,
specifically focusing on very successful movies. Just like Hollywood, Bollywood embraces all
aspects of the film industry in Bombay. Scholars who are interested in understanding the
various ways that Indian culture has interacted with Shakespeare can study the distinctive
collection of films offered by Malayalam cinema. It then specifically examines the film
adaptation of filmmaker Jayaraj’s Veeram/HHamlet [2017]. This paper explores the efficacy
of incorporating regional folklore, mythology, and ritualistic traditions to construct narratives
and conflicts.
Shakespeare Productions in Kerala Traditional Dance Dramas
Shakespeare adaptations in both Western and non-Western cultures typically cater to
local viewers by incorporating Shakespeare into the cultural norms of the country or region.
An example of a cross-cultural adaptation that aims to be inter-cultural is one that tells a story
familiar to Western audiences but uses artistic techniques that Western audiences may not be
familiar with or may not have encountered before. These adaptations, despite their apparent
divergence from Western performance traditions, are frequently intended for Western
audiences rather than native ones. While the method may have little success, like with the
Kathakali Lear, it may be remarkably effective in generating Western interest in other cultures
when executed at its highest level. The distinction between cross-cultural and intercultural
adaptations can be unclear. However, what is important to note is that adaptations of
Shakespeare, which originate from culturally marginalised groups, are able to reach global
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audiences that would not otherwise be accessible. The cross-cultural adaptations of
Shakespeare have two effects: they create a worldwide space for cultures that are peripheral to
the Western centre, and they also strengthen the idea of Shakespeare’s “universalism”
simultaneously (Trivedi and Chakravarti, sec. Introduction 3-4). The incorporation of
Shakespearean texts into the vocabulary of Kathakali provides intriguing observations on how
the works of Shakespeare have been blended and presented on the Indian stage. Multiple
adaptations of Shakespearean plays were performed in Kathakali. The most esteemed and
accomplished among them are: King Lear: This adaptation was a joint endeavour by
choreographer Annette Leday and author David McRuvie. The theatrical production, titled
“Kathakali King Lear,” has been engaged in a touring circuit since 1989. Arjun Raina, working
together with his mentor Sadanam Balakrishnan, combined Kathakali with Othello throughout
the 1990s. The play titled ‘The Bard and the Beautiful’ by Prabhal Gupta features Lady Macbeth
and Cleopatra as characters. Prabal Gupta, a Kathakali exponent, performs two sequences: one
from Shakespeare’s Macbeth and another from Antony and Cleopatra. ‘Cholliyattom’ is the
technical term used to describe the act of performing the vocal rendition of songs in Kathakali.
It is the simpler rehearsal form of cholliyattam in Kathakali.
Veeram as an Intercultural Appropriation in Vadakkanpattukal Setting
Veeram is an adaptation of traditional tales known as Vadakkanpattukal (Northern
Ballads) which are an integral component of the oral heritage in North Kerala. The texts revolve
around the lives and courageous achievements of individuals belonging to the warrior classes
in the area. These individuals were highly skilled in martial arts (kalari) and engaged in duels
as hired soldiers to resolve conflicts between local landlords and chieftains (Trans-locating
Macbeth to the valiant milieu of vadkkan pattu).
In the film Veeram (Valour, 2016), Jayaraj revisits Shakespeare by selecting a highly
renowned narrative from the ‘Northern Ballads’ (traditional ballads from North Kerala that
depict the lives and heroic deeds of warriors) (Veeram movie review: rediscovering Chandu,
the cheat).The narrative revolves around Chanthu, a Chekavan who engaged in combat to
resolve conflicts among the regional chieftains. Aromal Chekavar, a member of the illustrious
Putthooram family, chooses him to be the head of the martial arts schools because of his
exceptional bravery. Unniyarcha, who is the sister of Aromal, the person Chanthu loved,
previously rejected him. Chanthu is requested to accompany Aromal in combat against their
arch nemesis, Aringodar. Chanthu agrees to tamper with the sword for the upcoming duel by
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The character known as the ‘betrayer Chanthu’ is a well-known and frequently
depicted figure in Malayalam films. He has appeared in previous movies like Unniyarcha
(1961) and Aromalunni (1972), where he plays the antagonist to C.S. Venkiteswaran Aromal’s
portrayal of the hero in the traditional narrative. M.T. Vasudevan Nair wrote the screenplay for
the 1989 movie Oru Vadakkan Veeraghadha, and Hariharan was in charge of directing. The
film tells the narrative of Chanthu, who is consistently misunderstood and labelled as a
betrayer, leading to a lifetime of disgrace.
Veeram adheres to the conventional plotline and is unquestionably the most visually
impressive film in the “Northern Ballads genre” in Malayalam cinema. Jayaraj has made minor
deviations from the original and has introduced only a handful of situations and characters to
enhance the story and maintain its alignment with the Shakespeare play. Similar to the play,
the movie’s plot begins when Putthooram House appoints Chanthu, who has just won a local
conflict, as the Kalaris’ leader. The film concludes with Chanthu’s death in a fight against
Aromalunni, the son of Aromal, whom Chanthu kills.
The Ellora Caves, serving as the primary setting, provide the picture with a timeless
quality and create an epic atmosphere that magnifies the protagonists’ larger-than-life presence.
Due to the stylized and exaggerated nature of the characters, the subtle details of their
expressions are not as significant as the visually striking and action-packed events presented in
a tableau like manner.
The film features three significant duels: an introductory duel at the beginning that
introduces Chanthu, followed by a duel between Aromal and Aringodar when Chanthu serves
as the former’s assistant, and finally a duel between Chanthu and Aromalunni. Aromal’s murder
occurs when he is in a state of slumber, while the killings of Kelu and others take place in dimly
lit locations, which is starkly different from the duels that happen on elevated platforms in well-
lit outside areas, where there are mocking crowds, waving banners, and kings sitting above.
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Another notable element in the film is the inclusion of erotic scenes. One such scene
occurs at the beginning, where Unniyarcha visits Chanthu in his bedroom after his promotion.
She reignites his previous desire for her and implores him to safeguard her brother’s life and
reputation. The second encounter takes place between Chanthu and Kuttimani in their home,
just before Chanthu is about to participate in a fight as Aromal’s assistant. During this
encounter, Kuttimani intensifies Chanthu’s desires, both of a sexual and royal nature. The two
ladies, one dressed and the other naked, who practise black magic, serve as contrasting
elements to these two women. They also make two appearances in the film, first at the
beginning and later when Chanthu seeks their assistance in a state of desperation.

In line with the repeating theme in his other ‘Shakespeare’ films, the protagonist in
this film also experiences repeated nightmares. One of these nightmares is a scene from the
play where he is startled by the appearance of Kelu, whom he had previously killed. Another
incident takes place as he is returning from the black magicians and a group of oracles suddenly
approach him while they are all wearing red and trance-like. They rush towards him, striking
their heads with their own swords and causing themselves to bleed. Among them, he sees the
bloodied faces of the individuals who killed Kelu.
The vast scale of the settings, the stunning portrayal of the battles, the intense sensual
sequences, and the haunting nightmares all contribute to the visual magnificence of Veeram
(Mohan 5-7). Macbeth is widely regarded as the most terrifying of Shakespeare’s plays, as it
immerses us in terror and allows us to experience it viscerally, affecting our senses and
thoughts. According to Jayaraj, the primary focus of the film is ‘valour’, which is also a
component of his series on Navarasas. Veeram attempts to amalgamate these two elements
under the character of Chanthu, who exhibits both bravery and sensuality yet also displays
naivety and apprehension. The overarching narrative ambiance and the traditional tales
surrounding Chanthu are a perfect match for the figure of Macbeth, particularly concerning the
political milieu of internal conflicts and the futile bravery of the warrior class, who are ensnared
in the broader political spectacle of power struggles and competition.
Macbeth Cholliyattam by Ettumanoor Kannan
Macbeth Cholliyattam by Kannan differs significantly from his later solo
performances, with variations in structure and genre. The play is presented as a love
relationship between Macbeth and Lady Macbeth, a construction not uncommon in Kathakali
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Intercultural Adaptations of Shakespeare’s Lady Macbeth in Kerala: Assimilation and Juxtapositioning of Lady
Macbeth in Jayaraj’s Veeram and Ettumanoor Kannan’s Macbeth Cholliyattam
www.the-criterion.com
https://doi.org/10.5281/zenodo.10448030
plays. Kannan’s US-based production showcased Shakespearean elements over Kathakali
drama, while his later solo work focused on the psychological aspect of Lady Macbeth’s
destruction. The latter emphasised a more equal cultural collaboration, while Kannan’s earlier
production focused on the rasa of fear.
Juxtaposing Lady Macbeth and Kuttumani in the social pedestal of Vadakkan Pattukal
and Elizabethan Era
The Elizabethan era had a linear progression of female roles: maid, wife, and widow.
Lady Macbeth disrupts this progression by oscillating between these roles, ultimately leading
to her downfall. The era was marked by Queen Elizabeth I’s reign, which presented the paradox
of a powerful female ruler in a male-dominated society. Women in Elizabethan society were
subject to a patriarchal structure where men were considered the leaders and women their
inferiors. Women were often seen as “the weaker sex,” not only physically but also
emotionally, and were expected to be under the care of a male guardian, whether it was a
husband, father, or another male relative. Despite these limitations, some women were highly
educated and could inherit property, though they faced restrictions in professions and voting
rights (Hill 174-178)
Vadakkanpattukal is a significant part of Kerala’s oral literature, reflecting the
culture and society of mediaeval Malabar. These ballads narrate the tales of heroes and heroines
from the northern parts of Kerala, particularly from the Puthooram and Thacholi households.
Women in these ballads are depicted in various roles, such as goddesses, beloveds, and
householders. The study aims to analyse the actual position of women beyond these idealised
roles. The ballads use specific terms like “Uzhamporukkal” and “Uzhamvazhangal” to indicate
temporary sexual relationships rather than permanent marital bonds. “Thalikettukalyanam” is
a custom mentioned where girls undergo a symbolic marriage ceremony before the age of 10,
highlighting the societal expectation of women being prepared for family life and marriage.
The role of the mother is highly revered, with mothers being equated to goddesses
in spiritual life. The ballads emphasise the importance of motherhood and the respect accorded
to mothers. The ballads critique the naduvazhi system (local chieftain system) and its impact
on women, portraying them as subalterns within a male-dominated society. Resistance against
the naduvazhi’s authority and the caste system is a recurring theme, with women challenging
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social norms and injustices. The ballads also address the exploitation and subordination of
lower-class women, highlighting the deep-rooted caste inequalities in society (Reena 302-05).
Lady Macbeth is portrayed as a complex character who embodies both traditional
femininity and a thirst for power. She manipulates gender norms to her advantage, invoking
the supernatural to “unsex” her, thereby seeking the strength to commit regicide. The argument
here is that gender is performative, citing Judith Butler’s theory that gender is a set of repeated
acts within a societal framework. Lady Macbeth’s character challenges these performances,
especially in her famous plea to be “unsexed” and her role in Macbeth’s rise to power.
The character of Kuttumani in the film “Veeram” represents a complex interplay
between traditional Indian values and the evolving perceptions of female sexuality and agency.
She is portrayed as a sexually assertive and ambitious woman, which is a significant departure
from traditional Indian portrayals of married women as virtuous and docile. The film links
Kuttumani’s sexual agency with evil, drawing parallels to the vamp archetype, where sexually
driven characters are often depicted as morally ambiguous and ultimately face tragic fates. By
not being married to Macbeth (Chandu Chekaver) at the start, the narrative suggests that an
Indian married woman would be incapable of the atrocities Kuttumani commits, reflecting
societal discomfort with the idea of a married woman as a source of evil.
Kuttumani’s pre-murder statement, before killing Aromal Chekavar, bears a striking
resemblance to Lady Macbeth’s monologue in Act 1, Scene 5, lines 36–52 of Shakespeare’s
play: “Oh Goddess! I invite malevolent and homicidal spirits to possess my being and eradicate
any traces of benevolence and empathy within me. May I lack any trace of human empathy
that might hinder me from achieving my malevolent scheme? May my breasts be filled with
venom instead of lactation. Similar to the original Shakespearean text, the phrase employed
implies that her femininity hinders her ability to engage in aggressive and brutal actions.
Kuttumani relies on her uncle Aringodar, and if he were to die in the combat, she would be left
without any support. The portrayal of domestic turmoil and mental health, together with the
desire for greatness inspired by Shakespeare, converge in the depiction of the conflicts that
lead to murder.
In contrast to Macbeth, where ambition takes centre stage as the main theme, Veeram
places greater emphasis on sexuality and allure. The film effectively utilises cinematography
and vocabulary to consistently reinforce this theme. Specifically, Kuttumani manipulates
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Intercultural Adaptations of Shakespeare’s Lady Macbeth in Kerala: Assimilation and Juxtapositioning of Lady
Macbeth in Jayaraj’s Veeram and Ettumanoor Kannan’s Macbeth Cholliyattam
www.the-criterion.com
https://doi.org/10.5281/zenodo.10448030
Chanthu by making sexual overtures in order to obtain her desired outcome. Kuttumani’s
destiny is more dreadful than that of Lady Macbeth. She tragically takes her own life, portrayed
as a result of her sexually provocative and immoral behaviour, in line with the notion that
sexually driven protagonists in Indian cinema are destined for death. In the movie Veeram,
Kuttumani’s demise is not due to natural causes, but rather he tragically takes his own life by
wielding a sword. Kuttumani’s suicide is depicted in a visually striking manner, as the camera
focuses on her as she takes her own life using one of the swords from the previous combat.
Veeram effectively and explicitly resolves the uncertainty surrounding Lady Macbeth’s death,
as portrayed in the original Shakespearean source.
Lady Macbeth in Kathakali framework in Macbeth Cholliyattam
Lady Macbeth is depicted with a demonic ruthlessness, especially in her
manipulation of Macbeth and her notorious consideration of infanticide to prove her
determination. Her influence profoundly impacts Macbeth psychologically, driving him
towards the regicidal deed that precipitates his ruin. The adaptation delves into the intercultural
strains between the Shakespearean script and Kathakali’s performance conventions, with Lady
Macbeth’s role being a central element of this artistic exchange.
The contemplated infanticide in Shakespeare’s narrative is a stark portrayal of Lady
Macbeth’s mercilessness, serving as a powerful narrative device. Kannan interprets this as a
symbol of maternal authority and societal trepidations regarding women’s impact on patrilineal
succession. His analysis further investigates the wider cultural milieu, examining the
connections between maternal influence, nursing, and infanticide with patrilineage and the
governing structure. Contextual references to historical figures such as Anne Boleyn and legal
discussions like the 1624 Infanticide Act elucidate these concerns.
To demonstrate his approach, Kannan cites Lady Macbeth’s metaphor in 1.7.54-55:
“Reflecting on Lady Macbeth’s words about the infant… ‘I have given suck, and I know how
tender it is to love the babe that milks me.’ The audience grasped the concept; subsequently, I
portrayed its significance.” By prefacing with the English text, Kannan uses Shakespeare as a
linguistic bridge, inviting his diverse audience to connect with his multifaceted performance
languages.
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After performing various movements and expressions to convey the meaning of the
verse, Kannan then continued to narrate Lady Macbeth’s reaction by adopting her character
through pakarnattam, which involves imaginatively shifting perspectives. Kannan depicted
Lady Macbeth as a malevolent entity, skillfully imitating her tears, displaying shock at her own
proposition to assassinate the king, and expressing anger in response to his rejection. Following
the performance of mimicking Lady Macbeth’s dialogue, including the line “had I so sworn”
(1.7.58), the actor forcefully threw an imaginary nursing baby to the ground in a disturbing
manner. Initially, he performed a kalasam in the lasya, which is a more delicate and feminine
style. He skillfully imitated the act of gazing at a baby that was resting on the ground, as per
the customary practice in Kerala. Lady Macbeth, displaying curiosity and fondness, raised her
eyebrows and picked up the kid. She lovingly touched and entertained the youngster by making
playful expressions while gesturing to indicate, “Do not cry!”
Conclusion
The intercultural adaptations of Shakespeare’s “Macbeth” in Kerala, as explored
through Jayaraj’s “Veeram” and Ettumanoor Parameswaran Kannan’s “Macbeth Cholliyattam,”
illustrate the dynamic and transformative power of Shakespeare’s work across diverse cultural
landscapes. These adaptations do more than simply transpose the narrative to a new setting;
they imbue the story with regional aesthetics, values, and historical contexts, creating a rich
tapestry of cultural dialogue.
“Veeram” seamlessly integrates the narrative of Macbeth with the traditional
“Vadakkanpattukal” ballads, effectively blending Shakespearean themes with local folklore
and martial traditions. The portrayal of Chanthu as a figure mirroring Macbeth highlights the
universal themes of ambition, betrayal, and valor, while also emphasizing the distinct cultural
and historical backdrop of 13th century Kerala. The film’s emphasis on visual grandeur,
ritualistic elements, and the nuanced depiction of sexuality further enhance its intercultural
narrative.
On the other hand, “Macbeth Cholliyattam” by Kannan utilizes the classical dance-
drama form of Kathakali to reinterpret Lady Macbeth’s character. By incorporating Kathakali’s
expressive techniques and performance conventions, the adaptation not only pays homage to
Shakespeare’s original text but also explores deeper psychological and emotional facets of the
characters within an Indian cultural framework. The juxtaposition of Elizabethan and medieval
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Intercultural Adaptations of Shakespeare’s Lady Macbeth in Kerala: Assimilation and Juxtapositioning of Lady
Macbeth in Jayaraj’s Veeram and Ettumanoor Kannan’s Macbeth Cholliyattam
www.the-criterion.com
https://doi.org/10.5281/zenodo.10448030
Malabar societal norms, especially regarding gender roles and power dynamics, offers
profound insights into the performative nature of gender and the societal expectations placed
upon women.
These adaptations underscore the dynamic interplay between global literary
traditions and local cultural practices. They highlight how Shakespeare’s works can be
continually reinterpreted and revitalized through intercultural engagement, fostering a deeper
appreciation for both the universality of Shakespearean themes and the richness of regional
artistic expressions. The study of “Veeram” and “Macbeth Cholliyattam” thus not only enriches
our understanding of Shakespeare’s enduring impact but also celebrates the creative
possibilities that arise from the fusion of different cultural narratives and performance
traditions.
Works Cited:
Hall, Hubert. Society in the Elizabethan Age. Literary Licensing, LLC, 2014,
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Hill, Bridget. Women, Work And Sexual Politics In Eighteenth-Century England. Routledge,
2005.
KALA UK. “KALA (UK) Annual Day 2015 – Macbeth Cholliyattam by Dr. Ettumanoor P
Kannan.” YouTube, 5 Sept. 2016, www.youtube.com/watch?v=zCGlNCIobwA.
Kishore, Vikrant, et al. Bollywood and its other(s): towards new configurations. 2016, pp. 1–
229, dro.deakin.edu.au/view/DU:30107089.
Mohan, Anupama. “Transculturated Shakespeare: Malayalam cinema and new adaptive
modes.” Indian Theatre Journal, vol. 5, no. 1, Aug. 2021, pp. 73–85,
doi:10.1386/itj_00017_1.
Reena P.P. “WOMAN IN VADAKKANPATTUKAL: A HISTORICAL PERSPECTIVE.”
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Reporter, Staff. “Macbeth in Kathakali avatar.” The Hindu, 22 Mar. 2013,
www.thehindu.com/news/cities/Thiruvananthapuram/macbeth-in-kathakali-
avatar/article4537083.ece.
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Trivedi, Poonam, and Paromita Chakravarti. Shakespeare and Indian Cinemas. Routledge,
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“Trans-locating Macbeth to the valiant milieu of vadkkan pattu.” The New Indian Express, 17
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2024.
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_cu_r. Accessed 31 May 2024.
“Veeram movie review: rediscovering Chandu, the cheat.” OnManorama,
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Intercultural Adaptations of Shakespeare’s Lady Macbeth in Kerala: Assimilation and Juxtapositioning of Lady Macbeth in Jayaraj’s Veeram and Ettumanoor Kannan’s Macbeth Cholliyattam
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