| บทคัดย่อ(English) |
This thesis aims at studying the training and theperformance of Ravana from early time to today. Itfocusses on the tradition of Khon Na Jo or Khonperformance in front of the Nang yai stage and screenwhich is rarely performed today. The research methodology is based upon the indepth interviewing of experts, observation of trainingsand performances, and also from the experience of theresearcher who has been performer and teacher forRavana for more than thirty years. The research finds that Ravana performer withhigh quality must have gone through a traditionaltraining, step by step, in order to obtain knowledgeand experience in the following matters. His body mustbe tall and thick to fit the physical appearance ofRavana. He has to have the basic demon practice andfive major standard dances of the demon character.There after, he will be trained to perform in a propertradition of Ravana in the following dances :Cha-Pi(grand audience dance), Truat-Pon (troop reviewingdance), Rob (combat dance) Kuen-loi (fightingcomposition in still life manner), Ram Na Pat (danceset pieces), Ram Khao Rueng (role interpretation whileperforming with other characters in particular scenes).Moreover, the actor who portrayed the role of Ravanamust learn the tradition of how to utilise stage,props, and costume properly. Ravana tradition in Khon Na Jo is found in thefollowing scenes. In audience scene, he has to make anentrance and an exit through the door on stage left andsit on the bench placed at stage left because stageleft is traditionally depicted the Lanka or the Ravana's city. He has to make an entrance through stage rightdoor and exit through stage left door in his troopreviewing scene. In the combat scene, he sits on thechariot and makes an entrance through stage left doorand exits through the same door. Khon chanter for therole of Ravana must stand at the opposit side of Ravanaso he can see Ravana in full view while chanting thetexts. Pipat music ensemble is placed behind the screenfor better view and cooperation. Today some largeaudience scene with many actors, the bench is placed atthe upstage center. This thesis contributes to the ways in which theRavana and other demon characters can be trainedproperly and effectively. |
