| บทคัดย่อ(English) |
This thesis is a comparative study of worshipdances at Wat Sothon in Chachoengsao, Pra Prom Shrinein Bangkok, Prakan Shrine in Lopburi. This is to findout about performance elements, styles, dance patternand adaptation. The research is based upon documents,observa-tion, interviewing, troup owners, dancers, andorganizers. The research finds that dances of the threeplaces are similar. They are Tepbantoeng, Kridapinihan,Daowadung, Sinuan, Puttanupap, and Choenkwan. The firstthree dances are the case studies because they aredanced mostly and constantly at all places. Theirperformance elements are similar. They perform onspecial assigned stage that can be danced by 7-10people. Costumes are drawn from traditional theatrecostume with economic purpose rather than theaesthetics. Basic musical instruments are Ranad Ek,Ching and Tapone. Dancers begin and end one round ofdance with one Wai or holding hands in lotus shape topay respect to their teachers and devine spirits. Theirdances when comparing with the standard of the nationaltheatre are poor. They reduce the number of dancegestures. Their gestures are not placed in properorder. They repeat their gestures and sway their bodiesconstantly instead of performing proper gestures. Theydo not comply with the aesthetic standard of Thaiclassical dance because they do not pay attention tothe dance techniques throughout each dance piece. Thiscomes from the fact that they neither lack goodknowledge nor good quality teacher. They are also tiredof dancing repeatedly for the whole day in order tomake as much money as they can. The thesis gives an insight into worship dancesincluding the way in which they can be developed for abetter standard in relationship to the business. Sothere will be good dancers to serve society in a properway. |
