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The Evoluation of Thai Theatre in Bangkok Between 1782-19351

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The Evoluation of Thai Theatre in Bangkok Between 1782-19351 THE EVOLUATION OF THAI THEATRE IN BANGKOK BETWEEN 1 1782-1935 • Surapone Virulrak2 Introduction The study of Thai theatre has always been The Early Period separated into independent issues focus­ sing upon narrow and indepth areas. This The Sukhothai Period (1238-1350) saw the research intends to investigate the various appearance of rabam, ram, and ten. They elements that contributed to the develop­ are mentioned in the stone relics and ment of Thai theatre from a broad literature of the period. Today these words perspective. mean group dance, dance with hand movements and dance with steps Thai theatre is deeply rooted in song, dance respectively. They indicate that the Thai and music. It has both a ritualistic and people have developed dance as an art to entertainment function. These functions the point that it can be divided into three reflect the Thai way of life which is based special kinds. It is a traditional belief that primarily upon the agarian cycle where kan fen pleng or balad singing also most activities occur during the dry season. appeared during this period. Animist, Hindu and Buddhist rites require certain kinds of performing arts as a means of communication with man or with The Early Ayuddhya Period (1350-1456) gods.Social gatherings also needs the saw many kinds of dance and theatre. performing arts as a means of interaction They were chak nak dukdamban, kan la/en and enjoyment. Thus, song dance and kong luang, nang and rabam. Chak nak music have always been important parts of dukdamban was the enactment of a Hindu Thai culture since ancient times. mythical episode depicting the churning of the ocean by angels, demons and monkeys to produce immortal water. Kan la/en kong luang was a series of male group dances, rabeng, mong krum and kula ti mai. These performances probably depic­ ted the kings and princes of the neigh­ 1A research funded by the Crown Princess Maha boring states who had come to pay respect Chakri Sirindhom Foundation, Chulalongkom to the king of Ayuddhya. Nang was a large University. leather puppet theatre. The puppeteer 2As sociate Professor , Chulalongkom manipulated a puppet with both hands University while dancing in front of the screen. Ramakien, a Hindu epic, was its main re- Downloaded from Brill.com10/07/2021 07:42:26AM via free access MANUSYA: Journal of Humanities Vol.2 No.I 1999 pertoire. Rabam was group dance per­ was changed. At first rabam was added. formed by court females. It was said to be Then, actors in lakon costume with masks performed in the royal palace annually to probably from chak nak duk-damban welcome the rainy season and was also performed in some nang episodes. Finally, performed exclusively for royal enter­ khon departed from nang although it tainment . Early Ayuddhya kings identi­ retained many similarities. Lakon nai fied themselves with Indra, the Hindu god developed from rabam, lakon nok, and of heaven who rode on white elephants khon. Later, Inao, a javanese historical with angels so the white elephant has legend became its favorite play. Eventually always been a symbol of glory of the Thai Ayuddhya City was destroyed by Burmese king who owned it. Consequently, female and the theatres that glorified Ayuddhya , court dance was required to celebrate its almost, if not completely, disappeared. captivity. It is important to note that dance was an indispensible aid to martial arts and The Thonburi Period ( 1767-17 82) was a arm practice. Apart from the main stream time of national revival characterized by of Thai performing arts, it is evident that , the desire to protect the country's indepen­ through trades and wars, artistic elements dence. King Taksin the Great, who ruled from India, Khmer, Mon Laos etc., were Thailand during this time was the sole adopted and adapted into the performing architect of the reconstruction of the arts of early Ayuddhya. civilization of Ayuddhya. Fortunately, the female theatre of Nakon Sri Thammarat, artists in the Thonburi capital and some The Later Ayuddhya Period (1456-1767) artists who survived the war were great continued the performing arts tradition of sources from which to reconstruct the the earlier times. From the middle to the theatre. end of this period , lakon nok, lakon nai and khon appeared in Ayuddhya. Foreign Apart from Thai traditional theatre the theatrical displays such as Chinese opera, performing arts of other nationalities, puppet theatre of various nationalities, which were brought to Thonburi, were Javanese masked plays, etc, were also seen also recognized by the King. These were in Ayuddhya. Lakon was a male theatre Chinese opera, Cambodian theatre, Mon performing Bodisatya' s stories. It is dance and the traditional music of various believed to be similar to nora theatre which nationalities. Thai theatre and the foreign is found in southern Thailand today. performing arts of the Thonburi Period There are two theories concerning · the were a valuable legacy of theatre which origins of nora. The first is that it was to be developed further during the originated in Ayuddhya and spread to the Ratanakosin Period. south; the second is that it spread from the south to Ayuddhya. Lako"(l developed into The Ratanakosin Period a more sophisticated form called lakon nok King Rama I (1782-1809) (theatre outside the palace) in order to distinguish it from female lakon nai King Rama I intended to establish Bang­ (theatre inside the palace). Khon was a kok as the equal of Ayuddhya, the old combination of performing arts of the Early capital, where he used to served the royal Ayuddhya Period. It is said that later nang court. Court and public traditions 70 Downloaded from Brill.com10/07/2021 07:42:26AM via free access The Evaluation of Thai Theatre -in Bangkok Between 1782-1935 including dance and drama were based various kinds of theatre troupes which were upon Ayuddhya culture. Dramatic literature hired for public functions. A lot of these was revived. Plays were newly composed theatre troupes probably competed with under the king's supervision. Tamra Ram , each other in costumes imitating the royal a Thai choreographic book depicting basic ones . So, the king had to prohibit them dance positions was produced and remains from copying the royal costumes. the oldest book available today from which we can learn about Thai dance positions in The population of Bangkok during King the past. Rama I consisted mainly of Chinese, Mon, Laos, Vietnamese and Cambodian people. The tradition of /akon puying kong luang They brought with them their music, dance (female court theatre) was continued in the and theatre to perform for their enter­ royal palace and in the deputy king's tainment and at their religious func-tions. palace. The king also ordered a large khon Occasionally, these performances were theatre to be built in the royal palace. It demanded as part of grand court cere­ was equipped with a rigging system for the monies. They were ngiew chin (Chinese flying scenes in khon performance. Having opera), ngiew yuan (Vietnamese opera), a theatre in residence was a tradition of mon ram (Mon dance), yuan ram kratang royalty and nobility. (Vietnamese flower pot dance), hun /ao (Laos doll puppet),and /akon kamen During the first reign, Buddhism was under (Cambodian theatre), and the folk songs going a reformation. The King ordered his and folk music of different nationalities. people not to believe in any thing other These performances were the sources of than Buddhism. However, he allowed Thai theatre in the later periods. worship in the sacred shrines to continue in an appropriate form including worship King Rama I contributed greatly to the through dance. Hence, temple dance has establishment of Thai theatre arts at the continued to be performed until today. He beginn.ing of the Ratanakosin Period . He also prohibited monks from chanting in was interested in the forms , content and comic style at funeral ceremonies so standard of the arts for the sake of the pride chanting was later performed by and prestige of the country. The theatre of commoners and became a very popular the noblemen, the commoners and the secular entertainment in the funeral minorities followed his objectives, thus, ceremony called suad karuhat (chanting of establishing a firm ground for further the commoners). It was one of the main development. sources for likay in the reign of King Rama V. Since King Rama I was very interested It is important to note here that /akon nai, in theatre arts, his subjects followed suit. according to historical accounts, could be They built pavilion in their residences to performed by males and females alike. s~rve as theatres and trained their prai (servants) to perform khon and lakon at their private functions. And while the country was still at war the king encouraged khon training since it is good for martial arts. Commoners also had 71 Downloaded from Brill.com10/07/2021 07:42:26AM via free access MANUSYA: Journal of Humanities Vol.2 No. l 1999 King Rama Il (1809-1824) King Rama II is recognized as the great contributor to the refinement of falcon nai King Rama II was a great artist in dramatic and the innovator of falcon nok baeb luang literature, music and visual arts. He had theatre arts. However, his artistic works been interested in lakon since he was did not flourish outside the palace until the young and paid much attention to the next reign though, the plays of the earlier theatre during his reign. The king himself, period were widely performed outside the his first cousin, and two male dance court. teachers were the key people who contributed to the refinement of lakon nai.
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