Ram Sat Na Tiang in the Lakorn Chatri Performance

Abstract

The objectives of this research, Ram Sat Na Tiang in the lakhon chatri to study 1) an analysis of the structure and Ram Sat Na Tiang in the lakhon chatri and 2) an analysis of the identity of the choreography of Ram Sat Na Tiang in the lakhon chatri by studying documents, textbooks, interview the expert and field study.

The results showed that 1) Ram Sat Na Tiang in the lakhon chatri started with a hand dance before the beginning to pay respect to the teacher's spirits and souls. It is an important tradition. The structure of the dance is separated into two parts. The first part is the dance in a sitting position interpreted from the dramatic text. The second part is a standing dance without singing until the end of the dance and ends with hand gestures (folding two hands together) by sitting on the bench. However, the choreography of Ram Sat Na Tiang troupes showed that both these troupes use the choreography as follows: sot soi mala, kin non ram, and pathom; from nora dance (thep phanom, khao khwai) together with the dance figure from Sat Chatri and pat na dance figure. 2) The identity of the choreography of Ram Sat Na Tiang of Khru Thongbai Rueng-non-Troupe and Thida Promsuwan – Troupe; the results showed that Ram Sat Na Tiang of two troupes have a similar structure. Khru Thongbai Rueng-Non-Troupe stayed in Bangkok, so the choreography and the rhythm were similar to the royal theatre. Nevertheless, Thida Promsuwan Troupe is different; the dance style is fast and strong, similar to the Nora dance.