การศึกษาบทบาทและรูปแบบการแสดงของตัวกุมภกรรณในการแสดงโขนพระราชทาน ชุด ศึกกุมภกรรณ ตอนโมกขศักดิ์

Abstract

The objectives of this study were to study 1) the role of Kumbhakan as described in Royal writing of the Ramakrien; 2) Study types and elements of the royal khon performance of the Ramakrien in the episode of Mokasak; 3) Analyze the war dance position of Kumbhakan in Mokasak’s episode in order to collect allun written knowledge from several khon dance masters of the demon character, by using qualitative methodology through studying from textbooks and related literatures, interviews with experienced khon dance professionals. The tools used to gather data were questionnaire. The result of the research found that 1) the role of Kumbhakan in the royal writing of the Ramakrien appears from 3 different perspectives, which were: (1) the viceroy of Longka; (2) Tosakhan’s sibling; (3) the warrior. His personality was defined as neatness, love and faithful to his nation, has a high moral standards and love justice i.e. 2) The types and elements of the royal khon performance of the Ramakrien in the Mokasak’s episode had 3 forms, which were: (1) KhonRongNai (Thai classical masked dance) (2) Khon Na Jor (Thai classical masked dance mostly performed on an outside stage in front of a white screen) (3) KhonChak (Thai classical masked dance mostly performed in a theatre with various changes of scene), which uses light design, music and mixed multimedia in order to make it more exciting and interesting for the audience. In the Royal Khon Performance, there are also other important elements such as dialogues, a music ensemble, singing, performers, costumes, accessories and specific war dance positions. 3) Beside all of these, a special KuenLoi (dance lift 3) called “LoiYeabba” has been reintroduced. It is a lift performed between Kumbhakan and Hanuman. During the performance, we can also appreciate a new war dance variation between Kumbhakan, using the Mokasak spear, and PhraLak.