Thai Traditional Theatre in the Modern World Phakamas Jirajarupat Royal Holloway College University of London
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Lakhon Phanthang: Thai Traditional Theatre in the Modern World Phakamas Jirajarupat Royal Holloway College University of London Submitted for the degree of Doctor of Philosophy ! 1 Declaration of Authorship I, Phakamas Jirajarupat, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________________ Date: ________________________________ ! 2 Abstract This thesis concerns the historical development of lakhon phanthang, a dance-drama form that emerged originally in Thailand as a commercial theatre under the patronage of royalty in the nineteenth century, was formulated as a traditional dance genre in the 1940s by the Fine Arts Department, modernised in the 1980s and is today taught in dance academies. Lakhon phanthang’s primary raison d’être is the representation of non-Thai ethnic groups, including Chinese, Burmese, Mons and Khake (Muslims) and it draws eclectically on the costumes, movement styles and ethnic stereotypes of these Others. This thesis examines transpositions and aesthetic shifts in the form over time with a focus on the modernisation, formalisation and traditionalisation, revival, survival and adaptation of lakhon phanthang, looking particularly at Krom Silapakorn’s theatre productions, the process of learning and teaching in higher education and theatre in rites of passage. The thesis analyses both aesthetic practices and various socio-cultural contexts, based on research on texts and documents, interviews and the author’s first-hand experiences as an audience member, dancer and instructor of lakhon phanthang. Analysis of lakhon phanthang in the modern world demonstrates that lakhon phanthang is a gateway for Thai theatre to develop traditional in modern society. The continuing survival of Thai traditional theatre requires not only the preservation of art forms as museum pieces but also making these art forms come alive for present-day audiences and engaging theatrical forms with contemporary society. ! 3 Acknowledgements This thesis would not have been possible without the guidance and support I received from several individuals who have generously contributed their valuable knowledge and experience, allowing me to complete the research I undertook for this doctorate. My postgraduate studies at Royal Holloway, University of London were supported by scholarships from Suan Sunandha Rajabhat University, Bangkok Thailand. Without this financial support, my PhD research in the UK would not have been possible. First and foremost among many, I would like to express my greatest gratitude to my supervisor, Professor Dr. Matthew Isaac Cohen, whose deep knowledge and crystal clear guidance have been precious and valuable to my work. His unfailing support and understanding have sustained me, academically and psychologically, throughout my period of studies at Royal Holloway. Dr. Cohen, you have always been there whenever I needed you. I could not have finished this piece of work and entered the international academic arena without your valuable guidance and encouragement. My deepest gratitude goes to Dr. Sarinthorn Vidhayasirinun, who not only has patiently and calmly guided me through the difficult and challenging process of PhD research, but has also shaped my intellectual thinking. You have always been with me since I took my first steps as a PhD student, until the very end. Your valuable comments, suggestions for this thesis and the dhamma lessons you have imparted me for life have helped me triumph over all the obstacles and difficulties strewn on my academic research path. I cannot imagine how I would have done without your support. ! 4 I would like to thank my academic adviser, Dr. Dick McCaw for his advice and committed encouragement. My deep and sincere gratitude also goes to Dr. Catherine Diamond for her worthy advice and her comments to improve the accuracy of my thesis. I would also like to express my greatest gratitude to Professor Emeritus Dr. Surapone Virulrak, my first teacher, who introduced me to the world of Thai traditional dance research and also inspired me to conduct research in Thai traditional theatre and present it to the world. In the process of writing-up, I am indebted to several friends, who have provided me with their generous utmost support. I would like to say a warm thank you to Dorawan Somthong and David Easey, Sumanus and Chris Lawson, Arifani Moyo, Dr. Brahm Prakash, Dr. Meera Sarma, Dr. Michelle Chan, Dr. Yajai Bunnag, and Dr. Alessandra Bruni Lopez y Royo who all have guided me through the vagaries of the English language and helped to correct my grammatical mistakes. Thanks are also due to Dr. Tamara Aberle, Jiwan Yang, Assistant Pawinee Boonserm, Krailas Jitkul, and Assistant Dr. Sukanya Sompiboon, who shared their knowledge of Southeast Asia and Southeast Asian Studies with me. I know you are the best, thank you all! I would like to express my big thanks to my British family, Dr. Ann Hutchinson and her husband Ivor Guest, who have always made me feel at home. Your laugh and love made my time in London bright and warm even on my bluest day. I would like to express my sincere thanks to Wassana Hafenrichter and family, Harry and Sangvane Parson, Molnapa Punboon, Sirisouk Wang, Sunisa Bhokanandh and her family, Srana Watananusak for all their love, support and friendship that have helped me get through my moments of despair and loneliness during this difficult period of my life. I would also like to thank Poranee Johnson and the Thai ! 5 Dance Academy team, as their love of Thai dance and culture nurtured my passion for Thai dancing even when I was in a foreign country. My heartfelt appreciation goes to Pramate Boonyachai, Dr.Surat Jongda, Dr. Pairot Thongkhamsuk, Dr. Supachai Chansuwan, Wantanee Muangboon, Anucha Sumaman, Pimrat Navasiri, and all Krom Silapakorn artists, all of whom gave me valuable interviews and shared their dance talents, and also provided me with insights into different perspectives on Thai traditional theatre. Big thanks are also due to my friends, Piyawan Ukamthorn, Urairat Chinglek, the Thai team at Bangkok Pattana International School and St. Andrew International School in Bangkok, Thailand for their support and their blessings. I owe my greatest debt of gratitude to my colleagues, staff and students at the Faculty of Fine and Applied Arts, Suan Sunandha Rajabhat University, especially Professor Dr. Chommanard Kijkhun, Assoc. Prof. Supawadee Pothiwetchakul, Asst. Prof. Somsak Buarod, Sakul Muangsakorn, Manissa Vasinarom, Thareeporn Sangkahamanthorn, Asst. Prof. Dr. Chutima Maneewattana, Dr. Nattaporn Rattanachaiwong, Dr. Kusuma Thepparak, Wutichai Khathawee and Naradhip Markanta who have always generously shared with me their knowledge, love, friendship and given me their blessings for my studying abroad. My deepest gratitude also goes to Komsorn Thanathammetee, my beloved friend: though you are no longer in this world you are in my heart forever. Last but not least, I owe my gratitude to my ‘hybrid’ family (Sae Chong and Jirajarupat) especially my super mom, whose love, care and support have made me strong. Finally, my special heartfelt thank you goes to Cheerawat Wanta, my beloved husband and sunshine of my heart and life. Thank you for always being there for me through my toughest and happiest moments in life. ! 6 This thesis is wholeheartedly dedicated to Chao Phraya Mahintharasakdithamrong, Boosara Mahin, Prince Narathip Phraphanpong and Seri Wangnaitham, whose lives and artistic creativity have contributed to the past, present and future of lakhon phanthang and Thai traditional theatre. ! 7 Table of Contents List of figures……………………………………………………………………….11 Introduction...............................................................................................................13 Statement of Research Aims………………………………….……………………..17 Theoretical Framework………………………………………...……………………19 Some Recent Studies on Lakhon Phanthang and Thai traditional Theatre…………25 Other Related Southeast Asian Theatre Studies…………………………………….33 Discourse of Lakhon Phanthang……………………………………………………37 Research Methodology……………………………………………………………...47 Organisation of the Thesis and Thematic………………………………………….. 48 Chapter 1: A History of Lakhon Phanthang………………………………..……52 Introduction…………………………………………………………………...…….52 Urbanisation and Modernisation of Bangkok in the Nineteenth Century …………55 Entertainment in urban Bangkok…………………………………………………...61 Lakhon of Chao Phraya Mahin: Dance-Drama before Lakhon Phanthang………..71 Boosara Mahin: A Siamese Touring Dance Troupe in Europe…………………....85 Prince Narathip and the Development of Hybrid Dance-Drama Theatre…………91 Conclusion………………………………………………………………………...99 Chapter 2: Lakhon Phanthang in the Nationalist Period……………….…....106 Introduction…………………………………………………………………..…..106 Krai-thong and His Spear: The First Lakhon Phanthang Production of Krom Silapakorn……………………………………………………………........108 Beginning of the Story……………………………………………………….......109 ! 8 Krom Silapakorn: The Route of the Hybrid Dance-Drama and Theatre Styles to Lakhon Phanthang ………………………………………...114 The Revival of Traditional Theatre…………………………………………….…121 Lakhon Phanthang as a Genre……………………………………………….…...127 Lakhon Phanthang in the 1940s and 1950s………………………………….…...134 Conclusion…………………………………………………………………..……151 Chapter 3: The Modernisation of Lakhon Phanthang: Seri Wangnaitham’s Phuchanasibtid…………………………………….…….154 Introduction…………………………………………………………………...….154 Social and Cultural