Role Play and Dance Posture of Nang Meuymanik in Panthang Drama of Rajathiraj

Abstract

          Thesis title Role Play and Dance Posture of Nang Meuymanik in Panthang Drama of Rajathiraj had objectives to study chronicles literature in title of Rajathiraj that adjusted to be Panthang Drama, to study the type and performing elements of Panthang Drama Performance  of Rajathiraj in episode of Phraya Noi visited the market prayer truth of Lao Kan Thao of Fine Arts Department and to study role play and dance posture and performing techniques of Nang Meuymanik by Asst.Prof. Pimonapat Tamangraksat who got the dance posture teaching from Kru Chaleuy Sukawanich, the National Artist in Thai Classical Performing Arts of the year 2530 B.E. through the studying from related documents, interviewing, observation, dancing practicing and taking photography. The finding found that Rajathiraj be Mon chronicles relating to history of Mon race was translated and rearranged by 4 poets in the King Rama I reign under the leader of Chaophraya Phra Kang Hon, the later occurring Panthang Drama in the reign of King Rama V, Rajathiraj then became to be Drama poem as the old written was arranged by the Great Luang Pathpongpakdee (Tim Sukayang).  The type of Panthang performance be the mixing drama by dance posture, songs and costume be mixed in the appearance race of that playing by taking each chronicles to be poem for performing.  The beginner who performed mixed Drama which later on was called Panthang Drama be Chaophraya Minsakthamrong.  The inherit of Panthang Drama go on until Fine Arts Department period had adjusted Panthang Drama performance,  Rajathiraj was adapted the new performance under the poem of the Great Luang Pathpongpakdee (Tim Sukayang).  Panthang Drama of Rajathiraj in episode of Phraya Noi visited the market prayer truth of Lao Kan Thao, Fine Arts Department held on the 1^st performance in year of 2523 B.E. was rearranged poem by Mr. Seree Wangnaitham, National Artist in Performing Arts of the year 2531.Performing elements as Panthang Drama be the mixed performing songs with melody of Mon, Myanmar and Pleng Na Path that used Pli Path Mon Krueng 5 by adding Sor Ouu to ensembled play together Drama.  Costume of both actor and actress unto Mon race inheritance, actor dress in light dress and based on identity dress of Yuen Krueng by wearing vest over the shirt clothes and taking Jong Hang Pok.  Nang Meuymanik dressed in 2 types as villager woman and noble lady be different in the beauty of clothes and accessories that specific the social status such as design on clothes and taking squeezing which would change together with the story background and Royal necessities that shown as any races also the props as per poem.  Nang Meuymanik performed by Asst.Prof. Pimonapat Tamangraksat was taught dance postures from Kru Chaleuy Sukawanich, National Artist in Thai Classical Dance of the year 2530 B.E,  Nang Meuymanik role play had 2 types in social status of villager woman and noble lady in the highlight as Nang Talad role play with the relating dance, special dance in poem and inserting dance among other performers, to present out the character of flirtatious woman who dare to show out her want and be more jealous that using the whole body in dancing of Tee Bot singing from basic dance.  The creating language used for common villager as natural dance posture as Thai Classical Dance and Mon dancing such as shoulder Kantai dance and Lull shoulders dance.  Courtship dancing be as in Thai Classical Dance because Nang Talad dance would present out through face, eyes and clear manner in significant of dance posture identity and techniques in Nang Meuymanik role play dancing as Kru Chaleuy Sukawanich be as Thai Classical Dance all in hand dance, feet dance in circle and edge levels of Nang role play by pulling all body all dancing that not dance as in the natural in body movement these be the genius in dancing of teacher since the past of the perfect of dancing creativity.