Khon Dance Drama: A Traditional Thai Epic Performance
What Happens
According to the University of Maine website, performances are based on episodes in the Ramakien (the Thai retelling of the Hindu epic the Ramayana), with battle scenes in which the hero Phra Ram vanquishes the villain Thotsakan. It is a convention of Thai theater, however, not to portray Thotsakan’s death on stage, as it is believed to bring misfortune.
Plots
The Ramakien is the story of Phra Ram, an incarnation of the god Phra Narai. He is assisted by monkey warriors, who bring back his wife, Sida, kidnapped by the demon king, Tosakanth. The story presents the universal belief that virtue always wins over evil.
Storylines
According to the Intangible cultural heritage website, the many episodes depict Rama’s life, including his journey in the forest, his army of monkeys, and his fights with the army of Thosakan, king of the giants.
Acting Style
The story is narrated in verse by singers and a piphat orchestra, and actors utilize dance-pantomime. The style of dancing and martial posturing puts emphasis on leg and body movements. Performers play one of four types: male, female, demon, or monkey. An athletic male style of movement is required for the performers who have to engage in elaborate battle pantomimes.
Masks
The most distinctive feature of khon performances is that nearly all the actors, with the exception of those taking female roles, wear elaborately painted masks.
Costumes
The costumes are elaborate, including decorated headdresses or crowns and full-head masks.
Make-up
According to Orawawatana Niamauthai in his thesis, the makeup method they use is called The Royal Khon make-up techniques. It has unique patterns and methods. According to that, all structures and lines are based on the patterns of the actual Khon mask and Thai ancient paintings.
Colors: The Royal Khon make-up pattern and techniques are the art of Khon painting using three primary colors which are white, red, and black.
Set
When this epic is presented on stage, adaptations are necessary for facilitating the ability to play khon. Therefore, there are many Thai stage versions of the Ramakien.
Time Period
Any early written versions of the Ramakien were lost when Ayutthaya-the second capital city of Thailand was destroyed in 1767. Therefore, the earliest known written rendering is that of King Taksin of the Thonburi period. However, the only one that is complete is the version of King Rama I of the Bangkok period.
Place
According to Amolwan Kiriwat in his thesis, at first, it was under the royal direction and then under the government of Krom Silpakorn, the Department of Fine Arts. After that, the Thai National Theater was set up. It has presented regular public performances of khon. Also, at least once a year, there is a special khon performance for the general public in the open area in front of the Grand Palace.
Origins
According to the Asian Traditional Theater & Dance website, the origins of khon are uncertain, but the prototype is generally believed to have existed in the fourteenth century CE.
Links to Religions
Through the characters in this epic, the principles of Buddhism, which is the most popular religion in Thailand, are presented. If people behave with wisdom, with discipline, with goodness, their lives will be peaceful.
Evolution
According to the luxury signature CULTURE & TRADITION website, in Khon dance drama, the most notable evolution is that Khon was originally performed only by men with female impersonators playing the women’s roles, but nowadays, women’s roles are usually performed by female dancers at the National Theater of Bangkok.
Key People
Kru R. is a teacher from the Chiang Mai College of dance where he teaches the art of the traditional Khon dance drama, from Khon footwork, hand gestures, and choreography.
Links to Other Theater Practices
Is Indian Kathakali, which will be talked about moreover later.
The Moment in Theater
The Khon Ramahien Sida’s Abduction & The Battle by Thailand’s Artists youtube video
Peer Input
Demonstrating Feedback Use
Video Recording and Analyzing
Activities and Exercises
Regular Preparations
I warmed up and ensured I had straight arms before I started the performance.
Development Over Time
(Present)
Choosing Appropriate Performance Material
Since Knoh Dance-Drama is theater convection that as well as hand gestures it occupies lower body gestures. However, it takes the spotlight on the hand gestures and since that is what my specific performance convention is, I had to find a key moment in the story that wasn’t being used. Thus, I found Sida’s abduction and capturing since at that moment she is sitting down only doing hand gestures.
What Happened in Rehearsals
The character of Sida is sitting down on a hard box in a very particular, specific, and hard posture. So, in rehearsals, I tended to get uncomfortable or in pain after a long period of time being in that position. Although it wasn’t all bad, at rehearsal my peers were always there so it pushed me to always be on track, as well being in an enjoyable/safe space I was able to work comfortably.
Learning Lines + Moves
I had to remember the hand gestures, the order they went to ensure I was doing the performance accurately and well.
Staging
The key element on stage must be the box in the middle to represent the high importance and spotlight that Sida is.
Choosing Props and Costumes
Knowledge
I learned about everything that is involved with theater convection. I learned about the culture of Thailand and why Khon Dance is so important the context and the reasoning of the performance. The importance and meaning of each story.
Skills
I improved my communication As I had to present my research clearly and speak coherently as well as use the non-verbal communications skills I learned by practicing hand gestures. I improved my research skills as I had to collect data, interpret and present without plagiarism and make sure I would say the key ideas without overpassing the time limit. I also improved my self-management as I had to be organized, making sure I was achieving everything it was being required to, managing my time to not fall behind or lose track, once I had the data I needed to ensure I was organizing the data.
Attitudes
I was constantly checking that I had the best attitude to the most open mind and was ready to learn and be emotional with the project.
Perspectives
My perspective of dancing in general changes as I realize the effort and skill it was implemented, as well as years of trying to achieve perfection. Yet on stage, it looks so smooth and easy when it is not and that changed my point of view of dancing.
Links to My Other Work
Director’s notebook; the importance of researching the cultural background and context of a theater perforce will help me be better prepared to be more organized with my data and be able to interpret. For the monologue I will already have experience presenting by myself on stage therefore I will be confiscated for that piece. As well as the collaborative piece since I will be able to integrate my research of Kohn to the discussion. My research skill would be applied to every subject as well as my confidence in presenting. Also, the skill learned of using hand gestures as a new way of non-verbal communication.
Indian Kathakali & Khon R linked since culturally, both countries share a common heritage, traditions, religious beliefs, & history.
Tradition
Kathakali is religious in nature. They typically deal with the Mahabharat, the Ramayana, & the ancient scriptures known as the Puranas. Like Khon dealing with the Ramayan on their performance.
However, unlike Khon, The movement is vigorous & florid. Kathakali tends 2 jst be their hand & hand gestures R more specific with their meaning.
Genre
Like Khon, Kathakali is a “story play” genre of art made up of actors who use hand gestures that convey the dialogue of their individual characters.
Style
Kathakali is a classical Indian dance, that originated in the state of Kerala between the 16th & 17th centuries. While Khon was in the 14th century being a Thai classical court masked dance.