GIANT WOMEN ROLE IN THAI DANCE ACCORDING TO THE GUILDELINE OF KRUTHANIT SALAKIJ

Abstract

This research aims to 1) study the history, elements of the performance, and the role of the giantess in Thai drama, and 2) study the performance techniques and analyze the structure of the dance moves of Nang Phanthurat in the Lakhon Nok story, Sangthong, the episode of Phra Sang fleeing from Nang Phanthurat. The researcher studied the history, elements of the performance of the giantess in Thai drama, the performance techniques, and studied the dance moves of Nang Phanthurat in the Lakhon Nok story, Sangthong, the episode of Phra Sang fleeing from Nang Phanthurat, which appeared in the Lakhon Nok performance format. The researcher collected documentary data, unstructured interviews, and participatory observation, and compiled them in a descriptive format.

          The study results found that

1. The ogress in Thai drama appears in stories, folktales and literature. They often play various roles as main characters and supporting characters. They have special powers and superhuman strength. Some characters are fierce and cunning. Some characters are kind and sincere. They represent moral lessons according to the beliefs of Thai culture. The components of the performance are as follows: 1) The performer must be skilled in dancing and body control. They understand the role of the character because Nang Phanthurat has a complex mind. They must convey emotions realistically. They can communicate emotions through their eyes and dance moves. 2) The script is a play script from the Fine Arts Department. It tells the story of Nang Yak raising Phra Sang as her own son. When he grows up, Phra Sang misses his real mother. So he steals the flying ogre statue and runs away. Nang Phanthurat leads an army of ogres to search for him, crying and wailing with love and concern. 3) The music band uses a five-piece piphat band, a double piphat band and a large piphat band. 4) The costumes can be dressed in 2 styles: standing in a nang costume, wearing a giantess head with an open face and beautiful makeup, or standing in a nang costume. Wearing a mask, having a dok krathum hairstyle, and drawing a face like a giant. 5) Personal weapon: a baton with a spiral tip. 6) Dance postures: From the giant masked dance training postures, the dance postures have been adjusted to suit the female character.


2. There are two forms of the Krao dance in the Nang Phanthurat check-up of Nang Thanit Salakit: