Research on the Creation of LakhonChatriKhruengYaiPerformance of the PhayaKhrutLak Nang Kaki Episode in the Tale of Kaki

Abstract

The objectives of the present research on the creation of a LakhonChatriKhruengYai performance of the PhayaKhrutLak Nang Kaki (Garuda Abducting Nang Kaki) episode in the tale of Kaki are: to present the creation of this dance drama performance as part of the celebrations of the birthday anniversary of His Majesty King BhumibolAdulyadej and to collect data, conduct qualitative research, and present an academic work that can contribute to the preservation and development of a creative work for the transmission of the performing art of LakhonChatri, particularly LakhonChatriKhruengYai. The research methodology employed are: documentary research on the origin and history of LakhonChatri performance from relevant literature, documents, books, and research findings; interviews of knowledgeable folk artists in the performing art of LakhonChatri, who have been transmitting this performing art to the present day; and interviews of dance artists in the court dance drama tradition. The interview data provided guideline for the creation of the LakhonChatriKhruengYai performance of this research.

            The research led to the production of a LakhonChatriKhruengYai performance of the PhayaKhrutLak Nang Kaki episode in the tale of Kaki, a classical literary work composed by Chao Phraya PhraKhlang’s (Hon). The performance was held on 13 October 2016, 1.00 - 4.00 pm, at the Music Hall, the Art and Culture Building, Office of Art and Culture, Chulalongkorn University. The function was held in three phases: a performance of the introductory scene on the birth of Kaki, an academic seminar on the creation of this dance drama, and the presentation of the LakhonChatriKhruengYai performance of the PhayaKhrutLak Nang Kaki episode in the tale of Kaki. The research data were also compiled into a qualitative research report. The report consists of an introduction and various sections on prior body of knowledge on the evolvement of LakhonChatri into LakhonChatriKhruengYai performance, the inspiration behind to creation of this performance, preparatory work and period, the creation of dance elements and dance characteristics for individual character, dance costumes, presentation of the performance in a mixed dance style of folk and court LakhonChatri performance. The performance began with a Rum Sat WaiKhru dance (to pay homage to teachers and past dance masters) and Rum Bot Son Rum dance (dance instruction) in the traditional style of ancient LakhonChatri performance. These were followed by the performance of the Khwaen Krung Paranasi (The City of Banares), RoengRitthiKhrutChamlaeng (The mighty Garuda in disguise), RaengRitSaneha (The great passion), LakphaRoengChimphli” (Snatched to the heavenly bliss of Chimphli), and RoengRuediHimmaphan” (Himmaphan Pleasure) scenes. The performance has a happy ending. The researcher was able to fulfill the research objectives of creating and transmitting LakhonChatri performance as well as preserving the traditional performance of LakhonChatriKhruengYai.