The Performing Technique a Child in Lakorn-nok of Pongsak Bunlon.

Abstract

This research consists purposes were 1. to explore the life and works of Pongsak Bunlon, a senior artist at the Office of Performing Arts in the Department of Fine Arts, with a focus on his educational contributions and significant roles in performances and 2. to investigate his method of portraying the “Kuman” character in Lakorn-nok's performances. is a qualitative research. There were research tools, namely interview and observation forms, with the target groups of 9 knowledgeable people, 1 practitioner group, and 20 general informants who were selected by purposive sampling. The data gathered from interview forms and related documents were analyzed in a descriptive way. The research uncovered that 1) Pongsak Bunlon is a skilled and knowledgeable artist in both Khon and theatrical performances. He has gained experience in performance since his studies at Nattasilp College of Fine Arts in Lopburi, ultimately becoming a civil servant as an artist. His roles in various performances primarily involve younger brother characters and “Kuman” characters, which the Thai Fine Arts Department has given him opportunities to perform and 2) In terms of his portrayal of the “Kuman” character in Lakorn-nok's performances, such as Gomin, Sin Samut, and Sudsakhon, Pongsak Bunlon inherited and developed his performance through observation and imitation of the movements and personality traits of the character, which includes playfulness, chattiness, and humour, all of which align with the character of “Kuman” in all three roles, the performance was transmitted by teacher Pachara Buathong. Pongsak Bunlon has also collected techniques for performing in terms of dance movements, character personality, character roles, emotional expression, as well as technique and style. He practised and performed until becoming proficient and accepted by other artists as well as the general audience.