THE CREATIVE DESIGN PROCESS IMMERSIVE DANCE SUWANNAHONG: THE EPISODE OF THE LITTLE BRAHMAN AND THE GREAT BRAHMAN

Abstract

The research article “The Creative Design Process of an Immersive Dance Performance: Suwannahong – The Episode of the Little Brahman and the Great Brahman” examines the design and development of an immersive dance performance. The study employs qualitative research methods, collecting data from documents and related research, as well as from participatory and non-participatory observation, and from experimental creative practice in performance-making.

          The research findings reveal that the choreographic design process consists of seven stages: 1) conceiving with dance artistry in mind, 2) defining the central concept, 3) synthesizing information, 4) setting the scope, 5) determining the format, 6) specifying other components, and 7) designing the choreography, of which the researcher implemented two key stages:

1. Determining the format – The main conceptual focus in designing the performance centers on the theme of “the use of wisdom in overcoming obstacles” of the character Ketsuriyong. The researcher employs stylized Thai dance movements to interpret characters, combines them with freer, improvised movements based on the script and music, and integrates these with elements of immersive/participatory performance design.


2. Specifying other components – The performance structure is divided into four scenes: (1) Love and the Spear, (2) Revival, (3) Trial, and (4) Ketsuriyong’s Escape. The characters are designed with multi-dimensional behaviors and internal conflicts to stimulate audience engagement and participation. The performance space is arranged so that the audience is placed within the scenes, while the characters serve as narrators and guides for the narrative pacing. Performers and the narrator thus become key mechanisms of the design process and are required to possess four qualities: 1) skills in Thai classical dance, 2) skills in improvisational communication, 3) a clear understanding of their roles, and 4) the ability to generate interaction with the audience. The accompanying music combines Thai and Western instruments to create atmosphere, enhance character dimensions, and effectively support the immersive viewing experience. Based on the research findings, this article will benefit those interested in and studying the creative design process of immersive/participatory dance theatre by providing guidelines for designing audience-immersive performances derived from Thai literary works.