Techniques in the Dance Process of Dress up Female Characters in Lakon Nok

Abstract

The objectives of the research are: 1) To study the history, roles, significance of female characters in Lakon Nok, as well as the components of dance performance while female characters are dressing up in Lakon Nok. 2) To analyze the dance process and techniques used for dressing up female characters in Lakon Nok. This study focuses on the performance of Chuichai Yro Phra Klin in Lakon Nok, a foreign drama about Mani Phichai. The dance is broadcast by Assistant Professor Khomkhai Klinpakdee, an expert in Thai dance. The research methods include documents and textbooks researchs, interviews  and performance observation as well as receiving instruction on the dance process from an expert. The research found that Lakorn Nok arose during the Ayutthaya period. The study mentions the roles and significance of female characters in Lakon Nok, referencing 14 drama scripts from the Ayutthaya period and 5 royal writings of his Majesty King Phuttha Lertla Napalai. The roles of women in these dramas involve dressing up 6 stories: Miss Hyud in Karakes, Mrs. Phikunthong in Phikunthong, Mrs. Saengsuriya in Pimsawan, Mrs. Kesmalee in Sangsilchai, Mrs. Yro Phra Klin in Maneepichai and Mrs. Khanthamali in Khawee. The purposes of dressing up include: 1. To choose a partner
2. To observe 3. To see the park 4. To seduce and test the heart. Performance elements include performers, costumes, musical instruments, songs, venues, scripts, and the occasions used in the performances. In Chui chai Yro Phra Klin, The dance process is divided into two paets. The first part reflects the act of dressing, using the melodies of the Ruaw song and Chomtalad song. The second part- represents a transformation of the body, using the melodies of the Chuichai song, Maesri song and Reo-la song. This dance appreciates the beauty of costumes and the ability to transform the body for various missions.
The techniques in the dance process include: 1) Techniques for conveying emotions through, facial expressions and eyes movements. 2) Expressions in the dance that convey meaning instead of words. 3) Using the Sabai in a performance, which has a unique characteristic.