THE FEMALE PLAYED IN FLIRTATION THE MAN: THE ROLE OF NANG YO PHRA KLIN WHO IS FLIRTATION PHRAMANEEPICHAI

Abstract

Background and Objectives: This article aims to study the structure of the female flirtation dance in the role of Nang Yo Phra Klin (a female character in Thai literature) and analyze the techniques of flirtation in the dance performance of Nang Yo Phra Klin.

Methods: The study involved reviewing documents, texts, the literary work Manee Pichai, books, photographs, and research related to the Lakhon Nok (a form of Thai classical drama) of Manee Pichai. The study also examined the performing arts of the Lakhon Nok in royal style, flirtation dance forms between male and female characters, and special forms of flirtation dances. Sources included the National Library, Chulalongkorn University Central Library, the Research and Development Group of Music at the Fine Arts Department, the Art Conservation Center at the National Institute of Development and Art, Ministry of Culture, and the Graduate School Library at the National Institute of Development and Art, Ministry of Culture. Interviews were conducted using an unstructured questionnaire with experts in both Thai performing arts and literature. Observations were made both through participant observation—practicing dance moves with Associate Professor Dr. Supachai Jansuwan, National Artist in the Performing Arts (Thai Dance) of 2005—and non-participant observation, studying images and video performances of Lakhon Nok Manee Pichai by Dr. Supachai Jansuwan.

Key Findings: In general, in Thai literature, male characters tend to be the ones who flirt with female characters. However, in some works, this behavior is reversed, with the female character playing the role of the flirt towards the male character. Nang Yo Phra Klin, the female protagonist in Manee Pichai, expresses her flirtation towards Phra Manee Pichai (her husband) to test his loyalty and affection for other women. The role of Nang Yo Phra Klin in flirting with Phra Manee Pichai is a special type of flirtation, with unique and interesting dance techniques.

Implications of the Study: Although Nang Yo Phra Klin is a well-known character, her role in flirting has not been widely studied or recognized, even though her flirtatious dialogue with the king in the royal script of King Rama II contains considerable interaction. However, when performed, many parts of this flirtation are cut from the play, which has led to less emphasis on her flirtatious role. Therefore, studying her role in flirtation is crucial. The analysis needs to be based on the original royal script from the reign of King Rama II, which forms the foundation of the play.

Conclusions and Future Study: The study has resulted in a clearer understanding of the dance techniques and the roles of male and female characters in both Lakhon Nok and Lakhon Nai (royal Thai drama). It will be compiled into academic documents for the preservation and transmission of these ancient dance forms, ensuring they do not disappear over time.