THE CREATION OF DANCE “INTHORACHIT’S DEATH CONTEMPLATION”

Abstract

Background and Objectives: Inthorachit, a character from the Ramakien, reflects on death, which in Buddhist principles is known as death contemplation. In contrast, modern society faces the issue of people living recklessly and without mindfulness. This research article, as part of the thesis The Creation of Dance “Inthorachit’s Death Contemplation”, aims to create a dance under the same title. Eventually, Inthorachit’s Death Contemplation will become a dance work that serves as a reflection on life and death, offering guidance for society to live life with caution.

Methods: This study employed an experimental research approach, collecting data through documents, in-depth individual interviews, and a step-by-step process of creative experimentation in dance.

Key Findings: The research found that the creative process is divided into 6 steps: 1) The conceptualization of contemporary Thai dance, with death contemplation as its core, conveys both the abstract and concrete aspects of death contemplation through contemporary Thai dance forms. 2) Character design, focusing on a single protagonist, Inthorachit, with the actor considered from physical characteristics and performance skills. 3) Script and dialogue composition, writing the monologue, narration, and recitation, adapting the poetic composition of the play, the version of King Rama I and King Rama II, to be the monologue and narration, which is Kap Chabang 16, Kap Yani 11, and the recitation, which is Rai Yao. 4) Designing the music composition, a contemporary Thai music style interspersed with monologue, narration, and recitation with male-female choral harmonies. 5) Storyboarding and Narrative Design, with the performance conveying the abstract and concrete of death contemplation, displayed in a flashback scene. and 6) Choreography and spatial design, using contemporary Thai dance movements derived from the Khon Yak dance, while reducing the rigidity of traditional angular postures. The performance space was organized according to the Rule of Thirds for visual balance.

Implications of the Study: The study presents a creative approach to dance that reinterprets the Ramakien, with elements from Khon performance, including monologue, narration, and recitation, Khon Yak (giant-character) dance movements blended with contemporary imagination. The study also applies the Life Recall theory in designing a flashback narrative structure. Additionally, theories of dance design process are adapted to suit the performance Inthorachit’s Death Contemplation.

Conclusion and Future Research: The research demonstrates the potential of dance drama as a medium for conveying the Buddhist principle of death contemplation. This performance serves as a guide for people to live with mindfulness and caution while also providing a foundation for the creation of other forms of dance in the future.