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WRAP THESIS Tungtang 2011.Pdf University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/36865 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Shakespeare in Thailand by Paradee Tungtang A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Theatre Studies and Translation Studies School of Theatre, Performance and Cultural Policy Studies, University of Warwick March 2011 i Table of Contents Page Table of Contents i List of Illustrations v Acknowledgements xi Declaration xiii Abstract xiv Preface xvi Introduction 1 Part One: Translating Shakespeare in Thailand Chapter I Shakespeare’s Introduction to Thailand: An Overview 39 King Vajiravudh and His Literary and Dramatic Activities 45 Chapter II An Analysis of King Vajiravudh’s Translations and 57 Adaptations of Shakespeare Basic Thai Verse Types 59 Case Study: Phraya Ratchawangsan, King Vajiravudh’s 70 Adaptation of Shakespeare’s Othello Phraya Ratchawangsan’s characters and plot summary 76 Staging Phraya Ratchawangsan in the Siamese dance drama style 79 Phraya Ratchawangsan following the convention of Siamese 84 dance drama Introductory word use 86 Types of Bot (passages of narration) in Siamese dance 89 drama scripts Analysis of King Vajiravudh’s adaptation of Othello 100 ii Part Two: Staging Shakespeare in Thailand Chapter III Shakespeare in the Dichotomy of Thai Theatre 108 Shakespearean productions in the Siamese court tradition (1910- 109 1930) Shakespeare on the Elizabethan and Jacobean Stage: the popular 113 tradition The Dichotomy of Theatre and Dramatic Aesthetics 116 The Dichotomy of Thai Theatre and Dramatic Aesthetics 121 Shakespeare and the Dichotomy of Thai Theatre 125 Chapter IV Classical Forms of Siamese Traditional Drama 128 Lakhon nai 138 Lakhon nok 139 Characteristics and Basic Elements of Siamese Dance Drama: 142 Forming Thai Dramatic Tastes Music 144 Players 145 Settings and costumes 146 Playscripts and common plots 147 Characters 152 The Siamese popular audience 153 Chapter V Transformation of Thai Theatre from Traditional Dance 156 Drama to Spoken Drama Lakhon Dukdamban 158 Lakhon Phan Thang 162 Lakhon Rong 164 Introduction of Lakhon Phud (Spoken Play) by King Vajiravudh 167 Chapter VI The Development of Thai commercial theatre and 169 modern drama after the major political revolution in 1932 Historical Background 169 Luang Wichit Watakarn’s plays: shaping new dramatic aesthetics 172 The beginning of commercial theatres in Siam 177 iii Lakhon rong and commercial theatre in Thailand 181 Modern drama and university drama: the new beginning of 186 modern day commercial theatre Chulalongkorn University 186 Thammasat University 191 Commercial Theatre in Thailand from the 1980s to the present day 193 Chapter VII Shakespeare on the Public Stage in Thailand 197 Staging Shakespeare in the Thai Commercial Theatre in the 20th 197 Century Macbeth the Traitor: Phagawalee Theatre Troupe (Approx. 1947- 202 1956) Hamlet the Musical: Troupe 28 (1995) 208 Chapter VIII Shakespearean Productions in Thai University 221 Theatres Chulalongkorn University productions 221 Hunsa Ratree (Twelfth Night production in 1989) 223 Tam Jai Tan (As You Like It productions in 1991 and 1993) 229 Ratree Nimit Klang Kimhun (A Midsummer Night's Dream 234 production in 1997) Payu Pirote (The Tempest production in 2007) 240 Thammasat University productions 250 Chapter IX Shakespeare in Thai Popular Culture and Thai Mass 260 Media in the Late 20th and the early 21st Centuries What is Shakespeare doing in Thai contemporary popular culture? 260 Likay and its dramatic elements 270 Chapter X Thai Popular Soaps and the Use of Allusions to 283 Shakespeare Soap operas in Thai society 283 The Use of Shakespeare’s Plots in Thai Soap Operas 298 The Use of Allusions to Shakespeare in Thai Soap Operas 309 Conclusion 325 iv Bibliography 328 Appendix Chronology of Shakespeare Translations in Thailand 348 Chronology of Shakespeare Productions in Thailand 353 Shakespeare as a major influence on King Vajiravudh’s literary 362 works v List of Illustrations Page Figure 1. Promotional poster for Hamlet: the Techno Drama (4-15 xviii March 2009, at the New Theatre Society and Crescent Moon Space, Bangkok, Thailand). http://www.wikalenda.com/Hamlet-The-Techno-Drama-050622.html [Accessed on 20 May 2009]. Figure 2. Shylock from Shakespeare’s The Merchant of Venice and xxvii Jujaka Brahmin from Vessantara Jataka. http://www.pbs.org/wgbh/masterpiece/merchant/ei_shylock.html and http://www.oknation.net/blog/print.php?id=302962 [Accessed on 15 October 2010]. Figure 3. King Vajiravudh of Siam (1881-1925). 46 http://commons.wikimedia.org/wiki/File:King_Vajiravudh_portrait_phot ograph.jpg [Accessed on 2 February 2007]. Figure 4. The first edition of Tam Jai Tan, King Vajiravudh’s translation 55 of Shakespeare’s As You Like It. Figure 5. King Vajiravudh’s preface (written in both prose and verse 70 forms) in his own handwriting, to his translation of Shakespeare’s Romeo and Juliet. http://www.kingvajiravudh.org/main/images/stories/saranukrom/p101 [Accessed on 27 January 2010]. Figure 6. Thai court dance drama (lakhon) in the late nineteenth century. 137 vi Mattani Ratnin, ‘Laksana Thai: Sillapa karn sadaeng’ [Thai Characters: Performing Arts], Laksana Thai [Thai Characters], ed. by Kukrit Pramoj and Ni-on Sanitwong na Ayuthaya, Thai Texts, (Bangkok: Thaiwattanaphanit, 2008), p. 68. Figure 7. A scene from Ramakien (Indian Ramayana) in the form of 161 lakhon dukdamban. Mattani Ratnin, ‘Laksana Thai: Sillapa karn sadaeng’ [Thai Characters: Performing Arts], Laksana Thai [Thai Characters], ed. by Kukrit Pramoj and Ni-on Sanitwong na Ayuthaya, Thai Texts, (Bangkok: Thaiwattanaphanit, 2008), p. 77. Figure 8. A production of The Arabian Nights in a form of lakhon phan 163 thang. Mattani Ratnin, ‘Laksana Thai: Sillapa karn sadaeng’ [Thai Characters: Performing Arts], Laksana Thai [Thai Characters], ed. by Kukrit Pramoj and Ni-on Sanitwong na Ayuthaya, Thai Texts, (Bangkok: Thaiwattanaphanit, 2008), p. 95. Figure 9. A production of Sao Khrua Fah (an adaptation of Madame 166 Butterfly) in a form of lakhon rong. Mattani Ratnin, ‘Laksana Thai: Sillapa karn sadaeng’ [Thai Characters: Performing Arts], Laksana Thai [Thai Characters], ed. by Kukrit Pramoj and Ni-on Sanitwong na Ayuthaya, Thai Texts, (Bangkok: Thaiwattanaphanit, 2008), p. 95. Figure 10. King Vajiravudh in one of his lakhon phud productions. 168 Mattani Ratnin, ‘Laksana Thai: Sillapa karn sadaeng’ [Thai Characters: vii Performing Arts], Laksana Thai [Thai Characters], ed. by Kukrit Pramoj and Ni-on Sanitwong na Ayuthaya, Thai Texts, (Bangkok: Thaiwattanaphanit, 2008), p. 140. Figure 11. Sarunyoo Wongkrajang in Hamlet the Musical. 214 Jukkrit Duangpatra, Plae, Plang, Lae Prae roop bot lakhon [Translation, Adaptation, and Transmutation of Literary Works], Thai Texts (Bangkok: Sum Nak Pim Siam, 2001), p. 43. Figure 12. Chulalongkorn University’s production of Hunsa Ratree. 226 Jukkrit Duangpatra, Plae, Plang, Lae Prae roop bot lakhon [Translation, Adaptation, and Transmutation of Literary Works], Thai Texts (Bangkok: Sum Nak Pim Siam, 2001), p. 52. Figure 13. Malvolio (played by Chonprakal Chandrueng), Olivia and 229 Maria in Chulalongkorn University’s production of Hunsa Ratree. Jukkrit Duangpatra, Plae, Plang, Lae Prae roop bot lakhon [Translation, Adaptation, and Transmutation of Literary Works], Thai Texts (Bangkok: Sum Nak Pim Siam, 2001), p. 52. Figure 14. Production of Tam Jai Tan [As You Like It] by a cast of 230 professional actors (in the illustration, Sarunyoo Wonkrajang as Orlando, Lalita Panyopas as Rosalind, Nussaba Vanit-ungkool as Celia) in 1991. Jukkrit Duangpatra, Plae, Plang, Lae Prae roop bot lakhon [Translation, Adaptation, and Transmutation of Literary Works], Thai Texts (Bangkok: Sum Nak Pim Siam, 2001), p. 27. Figure 15. Chulalongkorn University’s production of Ratree Nimit Klang 235 Kimhun [A Night’s Dream in a Midsummer] in 1997. viii Jukkrit Duangpatra, Plae, Plang, Lae Prae roop bot lakhon [Translation, Adaptation, and Transmutation of Literary Works], Thai Texts (Bangkok: Sum Nak Pim Siam, 2001), p. 50. Figure 16. Ratree Nimit Klang Kimhun [A Night’s Dream in a 239 Midsummer], Chulalongkorn University Production, Act 5 Scene 1. Ritirong Jiwakanon, ‘Ratree Nimit Klang Kimhun: Costume Design under Thai Cultural Context’, Humanities and Social Sciences Journal, Thai Texts, 19 Volume 4, July-September 2002 (Khon Kaen: Khon Kaen University Press, 2002), p. 20. Figure 17. Miranda and Ferdinand in Payu Pirote (The Tempest), 247 Chulalongkorn University Production in 2007. http://thaitempest.multiply.com/ [Accessed on 30 September 2007]. Figure 18. Prospero and Caliban in Payu Pirote (The Tempest), 248 Chulalongkorn University Production in 2007. http://thaitempest.multiply.com/ [Accessed on 30 September 2007]. Figure 19. Stephano and Trinculo in Payu Pirote (The Tempest), 250 Chulalongkorn University Production in 2007. http://thaitempest.multiply.com/ [Accessed on 30 September 2007]. Figure 20. Thammasat University Production of Mongpa Maha Burut 256 [The Great Man Mongpa], an adaptation of Shakespeare’s Macbeth, in 1982. Jukkrit Duangpatra, Plae, Plang, Lae Prae roop bot lakhon [Translation,
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