Methods for Performing Transformations and Disguises in Thai Classical Dance

Abstract

This study examines the performance practice of transformed and disguised characters in Thai classical dance drama. Its objectives were (1) to classify the types and characteristics of character transformation and disguise, and (2) to analyse the actor's performance practice through Stanislavski's system. The corpus comprises six royal plays of King Phutthaloetla Naphalai (Rama II) Ramakien, Inao, Maneephichai, Sangthong, Kraithong and Kawi from which twelve disguising characters were purposively selected on the criteria that the disguise is a turning point of the plot, that its choreography has been continuously transmitted and staged by the Fine Arts Department at the National Theatre between 1965 and 2021, and that master artists who performed or transmitted the role were available as informants.This qualitative study drew on documentary analysis, in-depth interviews, participant and non-participant observation, and a focus group with nineteen key informants, analysed through content analysis and thematic analysis.

The findings show two forms of disguise, with and without supernatural power, and seven components of performance practice: preparation, role analysis, the magic if, circles of attention, inner motivation, visualisation, and physical actions. Inner motivation varies systematically with the character's origin animal, demon, deity and human and governs the configuration of the remaining components. The performance practice itself is codified in three stages: before, during, and after the transformation, each governed by a distinct repertoire of na phat music.

Character disguise is therefore not merely a narrative device but a codified performance practice that can be transmitted systematically, and the three-stage model offers a concrete framework for training Thai classical dancers in roles requiring transformation and disguise.