| บทคัดย่อ(English) |
This research aims at studying the causes of recent adaptation of"Nora" traditional media, studying the recent adaptation of "Nora"traditional media in terms of form and content, and studying the results ofthe adaptation. It is a qualitative research employing in-depth interviewswith 9 "Nora" masters, 9 "Nora" performaners, 3 local scholars, who live inthe area of Nakorn Srithammarat, Songkhla, and Pattalung provinces. Inaddition, both participant observation and non-participant observation wereused. It is found that there are two types of "Nora" performance, to wit"Nora Rong Khru" (Performing "Nora" for doing ritual) and "Nora Sadaeng"(Performing "Nora" for entertaining). "Nora Sadang" is an adapted "Nora"performance in contemporary Thai society. There are three sub-categories ofthis performance, namely "Nora Boran" (Ancient/Classical Nora), "Nora SamaiMai" (Modern Nora), and "Nora Prayuk" (Applied Nora). Three causes of therecent adaptation of "Nora" traditional performance include the coming ofnew media, audience's favor, and income. The recent adaptation of Noratraditional media is an emergent culture combining between the residual"Nora" performance and dominant cultures that are modern drama and "LukThung" (country music) musical performance. In term of the form adaptation,the adaptation includes the truncation and reduction of the traditionalelements of Nora performance and the substitution and addition ofmainstream cultural elements. In terms of the content adaptation, theoriginal contents in the part of poems are truncated and substituted bycontents of current situations. Regarding the contents in the play part,there are substitution of modern drama content and revival of traditionalperforming content. Additionally, it is revealed that "Nora" traditionalmedia currently functions in educating, informing, entertaining, and socialcriticizing. There are four consequences of the recent adaptation of "Nora"traditional media. Firstly, each subtype of "Nora Sadaeng" has differenttarget groups, different interrelation between the performers and theaudience, different profound degree of education and different value in"Nora" dramatic arts. The findings also indicate that in the current adaptation of thethree types of "Nora Sadaeng", the main elements of Nora performance suchas singing, dancing, and "Tambot" (the improvised dance from poemsinterpreting) are still preserved. These are significant and uniqueelements of Nora performance as well as the communication via theperformance. In addition, the basic factors of the survival of the current"Nora" traditional media in Thai society include beliefs about Nora mastersand beliefs about rituals in "Nora Rong Khru". These beliefs function askeys for the preservation of "Nora" performance for new generations. |
