The Design Strategy of the Demon Role Performance Process by Somsak Tudti

Abstract

This research consists purposes were 1. to study the biography and works of Somsak Tatti and 2. to study the design strategy of the Demon Role performance process by Somsak Tatti. This is qualitative research. The research instruments consisted of interview forms and observation forms. The target group comprised 27 people selected through purposive sampling. The data collected from the research instruments were then analyzed using content analysis. The research findings revealed that 1) Somsak Tatti received formal education in Thai classical dance from College of Dramatic Arts and developed expertise in Khon giant-role performance, leading to his appointment as a junior instructor in giant-role performance at the College of Dramatic Arts, Fine Arts Department. He currently serves as a Drama and Music Scholar (Expert Level) at Bunditpatanasilpa Institute, Ministry of Culture. He has made significant contributions in performance, choreography and knowledge transmission. He was graciously selected by royal command to inherit the ritual dance sequence of the Ong Phra Pirap Na Phat composition and performed important roles in the Khon epic Ramakien, including Tosakanth and Maiyarap. He also created dance repertoires such as Rabam Wirachai Yak, Rabam Asurapong and Tosakanth Long Song Thon. In addition, he has participated in numerous theatrical productions and produced academic works in Thai classical dance in the form of teaching manuals, research studies and instructional materials. Regarding the techniques used in performance design, the study found that Somsak Tatti integrated traditional Thai classical dance knowledge with adaptive applications suited to performance contexts, props and the emotional states of characters in order to portray giant characters with elegance, strength and realism. The major techniques included (1) designing the interpretative dance of Maiyarap through analysis of lyrics and musical structure while adapting movements to spatial limitations (2) expressing the emotions of Phiphek through breath control, movement and musical rhythm and (3) weapon performance techniques, such as spear spinning and spear throwing, emphasizing precision and bodily balance. These approaches reflect the preservation of traditional conventions alongside creative innovation, resulting in a choreographic identity that contributes significant value to the field of Thai classical dance.