Strategies for Playing Kham Prad in Twelve Script Parts of Nora

Abstract

This article shows a study of three Nora groups' strategies for playing Nora script, which are the Nora Nattapong Hongthong group, the Nora Sit Khun Oupbhathamnarakorn (Phum Dhewa) group, and the Nora Kriangdet Nuanrahong group, by using an analysis and knowledge extraction method based on the area, which is an observation without involvement in the playing of Nora script. According to the study results, playing Kham Prad included a variety of tactics, such as the structure of the play, singing structure, singing characteristics, lyrical sequencing, playing with flexibility, and adaptability in groups, which varied according to the context of the area, family lineage, and experience of the artist, particularly the sequencing of the lyrics and the method of communicating the lyrics with the leader directing the play. However, even though Nora script playing differed in many ways, all three groups followed the same playing structure, which consisted of singing the song's introduction, singing, breaking, and continuing. Furthermore, Nora script also contained a lesson that was meant to be communicated to the audience of Nora, serving for the purposes of instruction, knowledge, and reminders. The content and values of Nora's way of life appeared in the Kham Prad and were conveyed through Nora's performing arts, which included dancing, singing, and playing that have evolved over time. However, no matter how different formats and methods of playing and communicating meaning in each group are, the essence of Nora script is still there, and it is consistently conveyed to the audience.