Kathakali (Malayalam: കഥകളി, Sanskrit: कथाकेळिः) is a highly stylized classical Indian dance-drama noted for the attractive make-up of characters, elaborate costumes, detailed gestures and well-defined body movements presented in tune with the anchor playback music and complementary percussion. It originated in the country's present day state of Kerala during the 17th century and has developed over the years with improved looks, refined gestures and added themes besides more ornate singing and precise drumming.

Kottarakkarao complement Krishnanattam, which had its origin under the Zamorins of Kozhikode.

Ignoring the first phase when it was Ramanattam, Kathakali had its cradle in Vettattnad. Here Vettathu Thampuran, Kottayathu Thampuran and many dedicated artists like Chathu Panicker laid foundations for what is known as Kathakali now. Their efforts were concentrated on the rituals, classical details and scriptural perfection. Kottayathu Thampuran composed four great works -- Kirmeeravadham, Bakavadham, Nivathakavacha Kalakeyavadham and Kalyanasaugandhikam. After this the most important changes in Kathakali were brought about through the efforts of a single person namely, Kaplingad Narayanan Nambudiri (1739–1789). He was from the Northern Kerala, but after basic instructions in various faculties of the art in Vettathu Kalari he shifted to Travancore. In the capital and many other centres he found many willing to co-operate with him in bringing about the reformations.

Vadakke Manalath Govindan Nair (born May 21, 1937) popularly known as Kalamandalam Gopi is a exponent of the classical dance-drama style known as Kathakali. He is from the village of Kothachira in Kerala, southern India and he blends the solid body grammar of the highly stylised Kalluvazhi tradition in which he was groomed with the more flexible, part-realistic, emotion-laden southern style techniques he acquired later in his career. He is often referred to by his fans as Gopiyasan.

He is known for the romantic and dramatic portrayal of the virtuous pachcha roles in Kathakali, notable among them being Nalan, Karnan and Rukmangadan. He is equally adept in essaying the choreographically denser roles like Bheeman (in the stories Kalyanasougandhikam or Bakavadham), Arjuna (Subhadraharanam) and Dharmaputrar (that's Yudhishthira in Kirmeeravadham). Nair, a Padma Shri awardee, also excels in the yellow-faced pazhuppu roles such as Balabhadra, and has of late also branched out to portray variety roles like the anti-heroic Kathi (like Ravana, Keechaka and Duryodhana) black-bearded Kaatalan (Kiratham), red-bearded Bali (Balivijayam) and even the semi-realistic looking Brahmanan in Santanagopalam.

Kalamandalam Krishnan Nair (1914–1990) was one of the most renowned Kathakali artists of any time, and arguably the greatest in the history of the four-century-old classical dance-drama from Kerala in southern India.^{[citation needed]} He had fleshy, flexible and clean-cut facial features that were powerful to launch any emotion with amazing power and ease, and was intelligent enough to acquire and exhibit varied styles of Kathakali that were in vogue across Kerala during his lifetime.

A Padma Shri awardee, Krishnan Nair was a genuine all-rounder who had the calibre to emote any role in Kathakali and, what's more, add his signature flair to it. Even so, he was most widely celebrated for his essaying of the virtuous and romantic pachcha (green-hued) roles like Nalan, Bhiman, Arjunan, Rukmangadan and Karnan.

A native of Payyannur near Taliparamba in north Malabar, he was initiated into Kathakali in his early teenages under the tutelage of Guru Chandu Panikker. By 19, he got noticed by Kerala Kalamandalam co-founder, poet Vallathol Narayana Menon, and inducted Krishnan Nair into his institute, then near Mulankunnathukavu, north of Thrissur in central Kerala. It was there that Krishnan Nair was trained under gurus of varied style—like Pattikkamthodi Ravunni Menon, Thakazhi Kunchu Kurup and Kavalappara Narayanan Nair.