Buddhism and Thai Contemporary Performing Arts Media During 2005 - 2015

Abstract

     This article aims to 1) study, identify key issues, and synthesize knowledge derived from the creation of theatrical scripts for primary school-aged children (6–12 years) by Western playwrights 2) examine the integration of knowledge derived from Western playwrights into the creation of children's theatrical scripts as part of the Roaming Theatre Project under the course "Theatre for Young People," focusing on two selected plays. These plays were created based on the knowledge and principles of Western playwrights specializing in children's theatre. The two plays were developed into stage performances and presented to target audiences, including 30 children aged 9–12 at the Pak Kret Reception Home for Boys (Bannpoomvet) and 50 children aged 6–8 from Duangporn School. The scripts for these plays were created and developed by 16 students from the Theatre Department, Faculty of Fine and Applied Arts, Thammasat University, during the first semester of the 2024 academic year. This study employs a qualitative knowledge synthesis approach, collecting data from theatrical scripts, academic articles, and relevant books. Additionally, interviews were conducted with the playwrights involved in the Roaming Theatre Project under the "Theatre for Young People" course, along with observations of rehearsals and stage performances. These methods were utilized to analyze the outcomes of presenting children's theatrical scripts that integrate knowledge on writing stage plays for young audiences.
     The study identified a framework for integrating principles of playwriting for children, which can be divided into seven steps: 1) analyzing the target audience, specifically children, and studying child psychology for primary school-aged children (6-12 years) 2) collaborating with teachers, educators, and individuals who are closely involved with children 3) designing the core theme and format of the play to align with children's interests and contexts 4) developing the storyline and characters through improvisation 5) incorporating audience participation by ensuring children are engaged in every scene of the play 6)utilizing language, theatrical elements, and special techniques appropriately7)conducting trial performances to gather feedback from an audience comprising lecturers and Drama students.
     The application of these integrated principles revealed that most child audiences understood the intended messages conveyed in the play. They empathized with the characters, showed interest in the protagonists and the antagonists, and enjoyed participating in the theatrical experience. A further recommendation for the final stage—trial performances—is to include actual child audiences for feedback. This would enable the play to be refined and enhanced, leading to a higher-quality production.