The Dance Movements of a Female Character in Disguise: Ramakien Performance: Chui Chai Surapana Kha


  • จินตนา สายทองคำ


Dance Movement, Female Character, Chui Chai SurapanaKha


The research of this study on dance movements of a female character in disguise in Ramakien performance: Chui Chai Surpanakha aims to study and analyze the role and importance of the disguised female characters in Ramakien performance, as well as its dramatic composition. The study employs a comparison method between instruction-based dance movements and performance-based dance movements. The research data are collected from literature review, interview of Thai classical dance experts, and inheritance of dance movements, performance videos and focus group discussion to confirm the information.
This research finds Ramakien storyline, to have three significant female characters in disguise: 1) Surpanakha or Sammanakkha, whose role is crucial at the beginning of the story leading to the war between Rama and Ravana; 2) Benyakai, whose role is evident in the warfare stratagems of Ravana; 3) Adool the Demoness who causes the conflict between Rama and Sita at the end of Ramakien story. The impersonating dances movements of Surpanakha in Chui Chai Surpanakha are inherited from the royal dance genre of SuanKularb Palace. There are thirty-one dance movements for Chui Chai song and the dance style embodies graceful gesture. The dancer must convey the stylized demeanor and satisfaction through facial and eye expressions. In addition, Mae Sri song has 24 lyrical dance movements expressing, sulking, pretentious and bashful gesture, coupled with a smiling face and obscure eye contact.
The comparative analysis of the instruction-based and performance-based dance movements reveals that the instruction-based dance movements express a direct interpretation of the lyrics while those appearing in the performance are interpreted based on the interaction with the audience.


Download data is not yet available.


จิรัชญา บุรวัฒน์. (2551). หลักการแสดงของนาง ศูรปนขาในละครดึกดำบรรพ์ เรื่องรามเกียรติ์ (วิทยานิพนธ์ปริญญามหาบัณฑิต).กรุงเทพ : จุฬาลงกรณ์มหาวิทยาลัย.
บัณฑิตพัฒนศิลป์, สถาบัน. (2555). พิธีพระราชทานปริญญาบัตร สถาบันบัณฑิตพัฒศิลป์. กรุงเทพมหานคร :สถาบันบัณฑิตพัฒศิลป์.
พัชราวรรณ ทับเกตุ. (2544). หลักการแสดงของนางเกศสุริยงแปลงในละครนอกเรื่องสุวรรณหงส์ (วิทยานิพนธ์ ปริญญานิพนธ์มหาบัณฑิต).กรุงเทพ : จุฬาลงกรณ์มหาวิทยาลัย.
สุรพล วิรุฬรักษ์.(2543).นาฏยศิลป์ปริทรรศน์.กรุงเทพมหานคร : หสน. ห้องภาพสุวรรณ.
Translated in Thai References
Bunditpatanasilpa Institute. (2012). Graduation Ceremony, Institute of Arts. Bangkok: Institute of Art Development
Burawat, J. (2008). The Acting Principle on Soorapanakha in the Ramayana Drama (Master Thesis). Bangkok: Chulalongkorn University.
Tabkate, P. (2001). The Acting Principle on Katesuriyong in the Golden Swan Drama. (Master's thesis). Bangkok: Chulalongkorn University.
Wirulrak, S. (2000). Dance Periscope. Bangkok: ROP. Papsuwan room.



How to Cite

สายทองคำ จ. (2019). The Dance Movements of a Female Character in Disguise: Ramakien Performance: Chui Chai Surapana Kha. Research and Development Journal Suan Sunandha Rajabhat University, 7(3), 21. Retrieved from