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Fine International Journal, Srinakharinwirot University Vol.14 issue 2 July - December 2010

The Creative Choreography for Nang Yai (Thai traditional shadow ) , Wat Ban Don, Rayong Province

Sun Tawalwongsri

Abstract This paper aims at studying Nang Yai and how to create modernized choreography techniques for Nang Yai by using Wat Ban Don troupes. As Nang Yai always depicts Ramakien stories from the Indian epic, this piece will also be about a Ramayana story, performed with innovative techniques—choreography, , manipulation, and dance movement. The creation of this show also emphasizes on exploring and finding methods of broader techniques, styles, and materials that can be used in the production of Nang Yai for its development and survival in modern times. Keywords: NangYai, Thai traditional shadow puppet theatre, Choreography, Introduction narration and dialogues, dance and performing Nang Yai or Thai traditional shadow in the maneuver of the along with musical puppet theatre, the oldest theatrical art in , art—the live accompanying the shows. is an ancient form of and Shadow with puppets made using opaque, often articulated figures in front of from animal hide is a form of world an illuminated backdrop to create the illusion of entertainment that can be traced back to ancient moving images. Such performance is a combination times, and is believed to be approximately 2,000 of dance and , including and chants, years old, having been evolved through much reflections, poems about local events or current adjustment and change over time. Many countries, interest, and hundreds of different distinctive such as , China, and Egypt, have had silhouette characters. shadow puppet shows for over a thousand years. Nang Yai is a form of shadow puppet Nang Yai is believed by most academics to have performance that originated in Thailand. Nang is a originated in Thailand at the time when Thai word for animal hide, and Yai means large— and from India—along with the added to the name to suggest the size of the country’s performances and music—began to pieces of animal hide used in the shows in order proliferate in Southeast Asia. One of the historical to distinguish this particular type of show from evidences showing an ancient Indian shadow other Thai shadow puppet performances.[1] puppet performance is entitled “Thereethaka” Nang Yai is viewed as one of Thailand’s ( of the Nuns), and can be found in Pali most elevated forms of entertainment, since the Buddhist scriptures.[2] show involves many kinds of arts, including the There are many other episodes of of handicraft in the making of the perforated shadow puppet show ---for instance--- called puppets, literary art in the creation of the show’s “Chayanata”—which can be found in 6 Fine Arts International Journal scriptures. The most popular stories used in the Ban Don shows were approximately 200 years old shows come from a number of episodes from when Phraya Sri Samutpokchaichitsongkram, then Mahabharata and Ramayana (in Thai Ramakien). mayor of Rayong Province, purchased them while This cultural transfer from India to Thailand they were used in the shows in Patthalung, a through the Malayu peninsula and (the southern province of Thailand. The puppets are present ) began in 6 to 7 B.E., and believed to have been created by master craftsmen continued until the Sri Wichai era in 13 to 18 of the royal court during the Ayutthaya era. A B.E. However, as Thai Nang Yai is also very master , Khru or Nai Rong, was hired to similar to Cambodia’s “Sabak” (literally, hide) teach the local people about the art forms, who shows[3], some academics believe that the Nang have inherited the puppets until the present day.[5] Yai tradition has been passed down from In the late 1880’s, most of the Cambodia as well, even though the origin of this in Rayong Province, led by Khru Pradit, the transfer from Cambodia is not clearly cited. master puppeteer, and musicians, were from Sak The Nang Yai shows have, since then, Yai Village near Ban Don Temple. As the temple evolved and incorporated aspects that are uniquely was the center of the community, the puppeteers Thai. Nang Yai is believed to have thrived for offered the troupe to the temple, so that it was over 500 years in Thailand[4], with a trace of its convenient for the staff to rehearse and offer existence found during the Sukhothai era. A shows in the surrounding areas. The puppets reference to the show was seen on paper in the became the Ban Don Temple’s heritage and Palace Law during the reign of King Barom Trai thrived until changes in the people’s values Lokka Nat in 2001 B.E. (1458 A.D.), as regarding entertainment forms, wars, political mentioned in Samutkot Kamchan during the reign situations, and the deaths of master puppeteers of King Narai Maharaj (1656-1688). The Nang drove Nang Yai out of popularity. In 1980, Yai tradition has survived until the Rattanakosin however, the shadow puppet shows were revived era --the present era--. The existing evidence of by the province’s poet Mr. Amnat Maneesang and the ancient Nang Yai, nevertheless, is only in the townspeople. Nang Yai was seen once again written forms; there are no puppets left to be when an Outstanding Village Award project was found. The only puppets present are those 150 to created and when the Chueng Nuen Sub-district 200 years old, all created during the Rattanakosin local people in Rayong began to host the shows era. There are currently only three Nang Yai on various occasions, ranging from village troupes in Thailand: Nang Yai Wat Khanon of festivals to the Thai New Year Songkran festival Ratcha Buri Province, Nang Yai Wat Sawang and the 200-Year Anniversary of Rattanakosin Arom of Singha Buri Province, and Nang Yai Celebration. The Nang Yai shows became more Wat Chom Udom—now operating at Wat Ban widely recognized with the use of television Don, or Ban Don Temple, in Rayong Province. broadcasts, and the Nang Yai Wat Ban Don The history of Nang Yai Wat Ban Don Conservation Committee was established in 1981.[6] can be found in documents and research studies, as well as in interviews with people related to Aims Nang Yai, including Phra Khru Burakhet The present research entitled Creative Wutthikorn—the abbot of Ban Don Temple—and Choreography for Nang Yai (Thai shadow puppet the descendants of Nang Yai masters. The 200 or theatre) Ramakien, Wat Ban Don, Rayong so shadow puppets used in the Nang Yai Wat Province, was initially aimed at creating a new Srinakharinwirot University 7

Nang Yai—Thai shadow puppet—show to represent allies, and the monkey armies; and Thailand’s traditional puppet theatre arts at the ’s chariot. 2008 International Puppet Theatre Festival in Recent studies have discovered that Nang Lund, Sweden, and at the University of Athens in Yai is a dying art form that needs to be restored. . The project was inspired by ’ Therefore, this research examines the revival and hope to conserve and help the existing Nang Yai conservation of the Thai shadow puppet theatre. tradition to survive and thrive in the contemporary In order to do so, the researcher integrates new period. The show was choreographed by choreography technique into the show so that researcher Sun Tawalwongsri. Nang Yai can be communicated to the present- This newly-created show is experimental day more suitably. and iconoclastic. The episodes and characters provide the audience with an opportunity to see Results themselves through the mirror of mythic history: Nang Yai Wat Ban Don is comprised of to view their current situation through timeless the following major elements: perspectives. Studies show that at the beginning 1. The screen. The older-generation Nang of Thai shadow puppetry and dance performance, Yai puppets were maneuvered between a piece of a ceremony called Wai Khru was held to pay white cloth and a bonfire, the audience watching respect to teachers and to worship deities in the shadows of the puppets on the screen. As accordance with Brahman tradition. The ceremony time passed, lanterns in front of the screen and, was also meant to boost the morale of the Nang afterwards, light bulbs and spotlights, were used Yai artists and craftsmen. for the shows. Lamps and modern bulbs create The show itself consists of the following hard, stiff light, unlike the light from a real fire, parts: which moves as it is blown by the wind—making 1. With background music by the the shadows move and the characters depicted on ensemble, the ceremony called Boek Na Phra is the screen appear livelier. The modernization of performed to pay respect to teachers and deities. , nonetheless, has enabled development of 2. The ceremony is followed by a the performance such as allowing puppeteers to, prologue, a popular one being the Chab Ling Hua at times, appear on in front of the screen Kham story, a tale of two monkeys—one black, and perform behind the screen at other times. the other white. The black monkey always gets This new technique has changed the form of into to mischief, causing constant problems and Nang Yai—from showing the shadows only to fights. Despite the white monkey’s attempts to offer the audience the beauty of the combination teach him to behave, he never listens; and in of the performing art and dance of the puppeteers desperation, the white monkey ties the black one and the art of the original puppet shows—creating up and takes him to the hermit. The hermit a perfect, new art form. teaches him to turn over a new leaf and unties 2. The puppets. The large carefully- him. The two monkeys then become good friends. perforated animal hide puppets represent a 3. The main performance is a Ramakien wonderful aesthetic form of handicraft. There are story with four episodes: Rama, the hero of the from 100 to 400 puppets used in one troupe, so epic and , the epitome of female purity and the shows can tell a great number of stories. The virtue; the kidnapping of Sita by the demon large number of puppets lead to the categorization (Thotsakan); the powerful and devoted of the puppets, as follows Nang Khru—god 8 Fine Arts International Journal puppets or master puppets, Nang Mueng—setting of visual arts, the puppeteers’ varied color puppets, NangWai— paying puppets, Nang clothing might be reflected on the screen, thus Khanejon—walking puppets, Nang Nga— flying or taking the focus away from the puppets. charging the enemy puppets, Nang Chap—fighting 4. The musical ensemble used for Nang puppet and miscellaneous puppets.[7] Yai is called Wong Pi Phat,[9] usually an The puppets can also be categorized of traditional Thai musical instruments with five according the time of the shows: day puppets and leading instruments: Pi Nok (a small Thai flute), night puppets. The day puppets are colorful, while Klong Tat (tympani), Tapon (a two-sided drum the night puppets are monochrome, and sometimes horizontally laid on the floor and drummed by painted all black. As the day puppets are used in hand), Ranad Aek and Ranad Thum (Thai shows involving performance in front of the xylophones), and Khong Wong (bass ), with screen, they usually are colored so that they can Ching as a time keeper. The music used in the be seen clearly. These puppets’ colors can shows is unique, and helps to portray the actions sometimes be seen on their shadows when they and feelings of the characters. There are different are placed behind the screen as well.[8] kinds of music for different actions, such as 3. . The first generations of the walking, running, flying, fighting, casting miracles, Nang Yai Wat Ban Don troupe wore traditional weeping, and gladness. The puppeteers are to local clothes, the puppeteers in white shirts and dance in accordance with the music, and the the jong kraben (traditional pants) of various musicians are to observe the movements of the colors as available, and a piece of pink cloth puppeteers before they a different song or around their heads and waists. The current stop. It is crucial that the narrators, the costumes are comprised of black turtleneck, long- puppeteers, and the musicians, coordinate well, sleeve shirts and black jong kraben, elegantly which will in turn display the unity and the decorated with golden threads. This style of beauty of the show. costumes is created by the researcher for the 5. Narrator and scripts. There was only purpose of ascribing the main focus of the show one narrator in the research of Nang Yai Wat to the puppets, as inspired by other puppetry Ban Don. The narrator was a male, with a unique performances that employed black clothes for voice, and could be able to adjust his voice and puppeteers so that the audience’s interest is on the the ’s voice based on the characters and puppets, with the idea that colorful clothing would situations he was narrating. The script was not help to create the unity of the show; in terms adjusted from its original (masked dance ) script so that it had a variety of poetic flavors. The show was divided into four episodes: Rama-Sita, Tam Kwang, Khunpon Wanon, and Chom Ratcharot. 6. Puppeteers. The selection of puppeteers can be done by either recruiting the people available in the Nang Yai show area, or those that have had experience performing Khon and Lakhon (dance dramas). There are eight male youth puppeteers in the present Nang Yai Wat Ban Don Figure 1: The prologue called Chap Ling Hua Kham show, who have previously had some dancing and Srinakharinwirot University 9 puppet maneuvering skills. Most of the puppeteers They learned techniques for their wrists and for live near the Ban Don Temple. It is unfortunate moving, shaking, and swaying different kinds of that performing for the Nang Yai shows cannot be puppets. Additionally, they learned to form an made as a career because there are only a few acrobatic pyramid (standing on top of each other), occasions on which the shows can be performed, to somersault, and to use many other techniques and the puppeteers, for this reason, are required to for the show. When the apprentices were familiar be very dedicated and patient to succeed. with the basic techniques, they were subsequently The eight apprentices were trained to allowed to maneuver the real shadow puppets, maneuver all characters, which were divided into beginning from such easy-to-handle puppets as four major groups: heroes, heroines, demons, and the and other puppets that did not require monkey warriors. The initial stage of training many special dancing techniques, to the puppets involved warming up and stretching the muscles by of the prologue, such as the white monkey and using Ten Sao (post dance): each person facing a the black monkey, and the puppets of the main post or a handle, bending his knees, opening his stories from Ramayana. knees outward, and lifting each foot off the ground The apprentices were to both combine and and alternating the left and right feet rhythmically distinguish their senses for the training, including and continuously until they completely perspired. where to put their feet, knees, legs, shoulders, This practice would help the performers to have body, and even spine. They had to use different strong legs and to dance for a lengthy period of techniques for their wrists in maneuvering the time without feeling exhausted. The puppeteers puppets according to the puppet categories, and were also trained to practice making Liem or position their bodies correctly no matter in what angles of the outward direction of the knees. The directions they were moving. When the apprentices angles of the knees are a very important element were able to improvise their movements in of the dance, as each angle of the knees and legs, accordance with the music and narration, they as well as the positions of the feet, would would then be deemed true puppeteers. represent a different character in the show. The conventional Nang Yai show can be After the apprentices became skilled in the divided into three parts, as follows: Ten Sao and Liem practice, they were then 1. Boek Na Phra or the Wai Khru Nang trained to do other dance techniques; for instance, ceremony the Kep Thao or Soi Thao—standing on the tip of Nang Yai is considered a high their feet, slightly lifting their heels, stepping entertainment form and, therefore, one of its down, and quickly alternating left and right feet traditional beliefs is respect for the god masters. in the same place or as one is moving either to Prior to any Nang Yai show when a new screen the side or around in a circle. The apprentices is put up, a ceremony to pay homage to the god were trained to follow the rhythms of constant as masters and to set up the is carried out. In well as faster and slower music, and to step to the ceremony called Boek Na Phra, every person the left, to the right, forward, and backward related to the show, including the puppeteers and correctly. The next step was to practice holding musicians gather to pay homage to the Nang Yai the puppets by, initially, holding inverted U-shape god masters and the music god masters. The bamboo sticks so that the apprentices’ arms and hermit puppet and the and puppets shoulders were strong enough to handle the real are placed against the screen, along with the puppets’ weight for an extended amount of time. oblation and other devices, and the narrator begins 10 Fine Arts International Journal praying to the gods and goddesses and masters. puppeteers maneuvering individual puppets were After each verse, puppets are maneuvered and the paired so that they are different in age and size, scripts are narrated. There are three verses. When beginning from the smallest and youngest to the the narration is over, the puppeteers maneuver the largest puppeteers. The puppeteers for the Nang Shiva and Vishnu puppets off stage, and the Chap were more skilled, each person maneuvering hermit puppet is then maneuvered as if the puppet each puppet. The three fighting differ, were preaching or blessing the attendants before from the easiest to more difficult dances. The age leaving. This Wai Khru part of the Nang Yai Wat division is designed to show that the fight takes a Ban Don show employs an abridged version of long period of time, and each Chap dance is the three original verses for the purpose of more fun and exciting in their use of rhythms, conciseness, the entire part lasting approximately speed, an acrobatic pyramid, and the puppeteers’ 10 minutes. Only the hermit puppet is used. The dancing . ceremony is led by the abbot of Ban Don At the end of the third Chap, the white Temple—Phra Khru Burakhet Wutthikorn. monkey ties the black monkey up and takes him 2. The prologue called Chap Ling Hua to the hermit for a sentence. The white monkey’s Kham wish is for the hermit to execute the black The Chap Ling Hua Kham story is the monkey for his mischief, but the hermit preaches only existing prologue story that has been popular to the black monkey, leading to his repentance, until the present day. The prologue is a part of and he finally becomes a good monkey. The the Nang Yai show used to indicate to the hermit does not punish the black monkey— audience that the Nang Yai show is coming up. implying to the audience the moral lessons of During the prologue, the Pi Phat ensemble plays compassion and forgiveness. The story of the exciting music, and one of the most fascinating prologue conveys the Buddhist belief in the performances is the Pi (Thai flute) Solo. When victory of goodness over wrongfulness. At the end the ensemble plays the Chuet Nok song, two of the prologue, it is a custom for the narrator to puppets appear, fighting on the side of the screen, introduce the Nang Yai main story to the one being a white monkey and the other a black audience. monkey. Each of the monkeys takes turns moving 3. The Nang Yai main story forward to the other in front of the screen and, The most popular stories used in the Nang when the two monkeys approach, they disappear Yai shows are episodes from Ramayan, as the into the back while the first Nang Chap or stories conform with the Thai belief in respecting Chap—the fighting scene puppet—appears teachers and honoring the royal institution. Nang displaying a fight between the white and the Yai is a master performance and has been used on black monkeys in one puppet. The puppet is then the country’s major occasions and in royal maneuvered from the back, moving on past the ceremonies. The narrations in Nang Yai are also front of the screen before disappearing into the used for the Khon performances. The script for the back again. The individual monkey puppets appear Nang Yai Wat Ban Don show was compiled and again, fighting, before the second Chap appears, created by Mr. Amnat Maneesang, who revived the followed by the individual monkey puppets and Nang Yai traditions, and he did so by learning the third Chap. about old scripts from living Nang Yai masters. The choreography of this part of the show There were originally many scripts for was designed based on the puppeteers; i.e. the six Nang Yai Wat Ban Don shows that were Srinakharinwirot University 11 inherited from the past. Many of the Nang Rong The positions of the puppets are mainly drawn Yai scripts, however, were destroyed in a flood, toward each other, with Sita stepping away shyly and the remaining scripts did not constitute a and Rama approaching, teasing, wooing, and the complete show. The remaining scripts were then characters finally make love. used in the restoration of the Nang Yai shows, 3.2 Tam Kwang and were initially made into four episodes: the In this episode, Ravana tells to Origin of the Princes ( and , Rama’s disguise himself as a golden deer to lure Rama sons), the Ashvamedha Yagya, the Fight Between out of his pavilion so that he can kidnap Sita in the Two Sons and (Rama’s brother), order to create a reason for war. The major and the Reunion of the Father and Sons. The highlight of this episode is the switching of the scripts were created by studying the existing puppets by turning them around in and out of the puppets at the temple, and were believed to be scene, for example, when Maricha recites a well-liked before Nang Yai lost its popularity. spell to turn himself into a deer. When the The present research study can be viewed narration is over, the ensemble plays the Rua as a new beginning and a new creation. The new music, and Maricha’s puppeteer turns around and script for the Nang Yai show was created with goes off stage while the golden deer turns himself the consideration of the basic Ramayana stories in into the scene; the actions represent the magic mind, stories that were universal and whose transformation. Another scene using a similar origins were easy to understand. Scenes of technique is when Rama is following the deer. different moods and flavors were combined in The puppet of walking Rama turns around and order to create a concise script suitable for the goes off stage while the puppet of Rama with an audience of the new generations, and the stories arrow ready to shoot comes in, followed by the are comprised of actions suitable for international puppet of Rama having shot an arrow. These viewers. scenes were originally depicted by puppeteers The Nang Yai Wat Ban Don show can be walking and leaving the scenes while a new divided into four episodes, as follows. puppeteer walked in. Furthermore, instead of using 3.1 Rama-Sita only one puppet for Rama’s pavilion while the After the prologue about an exciting fight golden deer attempts to lure him, the three between the white monkey and the black monkey, walking puppets of Rama, Lakshmana, and Sita the narrator introduces the main story, beginning are maneuvered in front of the screen in order to with the scene about the love between Rama and show the emotions of the characters engaged in a Sita. The two main characters court, with the conversation. heroine showing her coyness, while the audience In the chasing scene, the rhythm and music enjoys the beautiful music and the gentle and of the scene change. The puppets of Rama and the graceful puppet maneuvers and choreography. The golden deer are designed to also change from the screen is sometimes used as a cover when the former walking in order to follow the latter, to run characters become bashful and elusive. The away and toward each other, and to escape the movements and dances are delicate. The puppets continued chase. The dimensions of the screen are are maneuvered by three of the puppeteers’ hands, used as obstacles in the chase. The puppeteers while the other hand of the male puppeteer for jump when the deer leaps up high. When the Rama is around Sita’s puppeteer’s waist, as if the deer’s jump is the highest, the puppeteers perform puppeteers as well were as the characters. an acrobatic pyramid and stay still, waiting for 12 Fine Arts International Journal

Rama to approach. As Rama shoots his arrow— ranked. Meanwhile, the puppet of the war chariot which originally was shown by an arrow puppet ridden by Rama and Lakshmana is maneuvered being moved past the screen to stop at the deer— behind the screen. The narration and the sounds the puppeteers form a pyramid with a puppet of the Klong Tat (tympani) and the Tapon drum showing the shadow of on Garuda solo convey a daunting atmosphere and a pert carrying the arrow, demonstrating the power of the emotion for fighting, the audience experiencing arrow of Narayana reincarnated as Rama in order the feelings of the army getting ready for war. to defeat the demon Ravana. The excitement of the scene is boosted by the change in the narration Conclusions and Discussion and music during the death of Maricha. Stakeholders today attempt to preserve the 3.3 Khunpon Wanon Nang Yai Wat Ban Don puppets in many ways. This episode shows the supernatural power At the temple, there is a special building where of Khunpon Wanon, Rama’s major monkey the puppets are stored and maintained. The Nang warriors—in fact angels from heaven coming down Yai Wat Ban Don Conservation Committee was to assist Rama in the war. The highlights of this established to help research the shows, and to episode include the monkey Khon walking out to revive and promote the Nang Yai shows to a interact with the audience, and the Khon dances broader audience. Nang Yai exhibitions are held by the puppeteers behind the screen as they in order to introduce Nang Yai to more people, to maneuver the monkey warriors to show their support the shows, and to raise people’s power. The Khon dances represent the awareness of the importance of conserving this appropriation of the Nang Yai by the Khon precious art form. The shows are broadcast on shows. The puppeteers are designed to dance television on national holidays. The building behind the screen in order to retain the audience’s where the puppets are kept, moreover, has been utmost interest in the puppets. Previously when made into a museum for interested parties and the Khon shows became popular with the passers-by to visit and learn more about Nang performers dancing in front of the screen, the Yai and watch the shows on tape. popularity of Nang Yai—whose puppets and The current abbot of the Ban Don Temple puppeteers were behind the screen—was reduced has designated an annual Nang Yai Wai Khru day to accompanying the Khon shows, along with so that the shows can be sustained and continue other dances, before disappearing all together. At to exist in Thai society. The abbot lends support the end of the episode, the monkey warriors, by taking the Nang Yai shows to important ranked appropriately according to the status and occasions. The troupe also cooperates with the predominance, make an acrobatic pyramid and government to hold exhibits and shows on form the ending posture. different occasions. The temple, in collaboration 3.4 Chom Ratcharot (Rama’s chariot) with the Rayong Province Cultural Council, has The last episode depicts the beauty of the published a book about Nang Yai Wat Ban Don. war chariot, and the elegance and harmony of the Finally, cassettes and CDs were made to be used army. Another highlight is the maneuver of the for narration in the museum, and flyers attached Khen Ling (monkey soldier) puppets in unison in to children’s external readings and Rayong front of the screen, with the monkeys being Province’s book. ranked in a manner similar to the way in which As for educating people about Nang Yai, minor Khon monkey soldiers are traditionally more youths have now been trained to maneuver Srinakharinwirot University 13 the puppets. When all of the older-generation Nang Yai course in the curriculum of the Wat master puppeteers, narrators, and puppeteers were Ban Don Elementary School as a part of the deceased in 2002, and the other puppeteers took endeavor to support local intelligence. Today, the on other jobs, Mr. Amnat Maneesang foresaw that abbot has built a theater for and Nang Nang Yai would become extinct if it were not Yai shows in order to preserve Nang Yai, as well soon revived, so he recreated a Nang Yai Youth as to develop the temple into an interesting tourist Puppeteers project. He held a committee meeting attraction for the . chaired by the abbot of Ban Don Temple, Phra Khru Burakhet Wutthikorn, and 12 youth Acknowledgments puppeteers were trained.[10] The number of I extend my sincere thanks to all who puppeteers was reduced to eight—and these eight contributed to supporting this research and young puppeteers for the new Nang Yai Wat Ban production, as follows: Don show recently performed in Sweden and 1. Research and Development Institute, Greece. At the Swedish puppet theatre festival— Suan Sunandha Rajabhat University for research which featured troupes from Sweden, China, financial support. Taiwan, Burma and Thailand—the troupe received 2. The 19th international puppet theatre a good response from the audience, and was festival 2008 (InterDock) for production financial presented the 2008 “Prix Michael Meschke” award support. by Mr. Michael Meschke, Sweden’s national 3. Nang Yai Wat Ban Don puppet theatre puppetry artist. After the news about Nang Yai troupes, Rayong Province. Wat Ban Don troupe’s trips abroad was 4. Mr. Michael Meschke who is a publicized, there have been up to approximately Sweden’s national puppetry artist for the best 30 more youths interested in learning to be Nang assistance and advice. Yai puppeteers. The temple is also pushing the 5. Ms. Bhanbhassa Dhubthien who is my conservation of Nang Yai forward by offering a best colleague as director of this show.

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[9] Sujit Wongthet. (2004). Nang Yai Mahorasop Rue Phithikam (Shadow Play: Entertainment or Ritual). Newsletter of Lek-Praphai Wiriyaphan Foundation. 46: 3-4. [10] Amnart Maneesaeng. (2003). Khru Amnart Maneesaeng and Wat Ban Don Shadow Play. Rayong: n.p.