안녕하십니까, <BR>관리자입니다. <P>민속공연의 종류<BR>태국의 민속공연은 크게 여섯가지의 형식으로 구성되어 있다. <P>※Khon: 인도의 Ramayana의 영향을 받은 Ramakian의 전형적 가면무용 드라마로서 왕족들을 위해 <BR>※Lakhon: 일반인을 위한 무용, 드라마 형식 뿐만 아니라 서양연극을 포괄하는 일반적 형태.<BR>※Lkikhe(Likay): 춤과 해학, 멜로드라마, 음악이 어우러진 외설적인 민속연극으로서 조금 즉흥적<BR>※Manohra: Likhe의 태국남부 형식으로 2000년 된 인도역사에 바탕을 두고 있다.<BR>※Nang: 그림자공연, 남부지방.<BR>※Lakhon lek ot hun luang: 인형극. <BR> <BR>-Khon(콘)에 관하여<BR>Khon은 연극과 무용이 혼합된 공연이다. 모든 방법은 Lakhon(연극)과 동일하며 다른 점이라고는 Khon이 Lakhon이라고 불리지 않는다는 점이다. Khon에서의 무용은 Lakhon Nai(왕족 연극)에서의 무용과 비슷하다. 다른 배우와 리듬의 무용의 패턴은 이 두가지가 다르게 나타내고 있다. <BR> <BR>Khon의 주요 특징은 주연을 맡은 공연자가 가면을 쓴다는 것이다. 가면은 공연자의 머리를 감싸며 앞을 볼 수 있도록 눈에 구멍이 있다. 이들은 Yak(악마), 원숭이, Teva(천사) 등 주연들의 개성을 완벽하게 재현하도록 만들어졌다. 또한 금이나 보석들로 치장되어 있으며 보통 Na Khon이라고 불리기도 한다. <BR> <BR>이야기는 Pak이라 불리는 운율있는 표현과 대화로 진행된다. Pak의 말은 Karb Yani(11단어로 된 시)와 Karb Chabang(16단어로 된 시)이다. Khon배우들을 위한 대화와 노래는 Cheracha(공연자를 위해 대화를 말하는 사람)에 의해 말해진다. <BR>Khon과 Lakhon Nai를 위한 의상은 동일하며 다른점이라고는 가면을 들 수 있다. 가면은 캐렉터와 역할에 따라 다양한 디자인을 가지고 있다. 주연배우와 악마를 위한 의상은 코트와 곁옷을 구별하기 위한 두가지의 색깔을 가지고 있다. 코트는 표시로 갑옷을 표현한다. 원숭이역할을 위해 코트와 곁옷은 머리카락을 표현하는 형식으로 제작되어 있다. 악마의 경우에는 가장자리에 천조각이 걸린 의상을 입는다.<BR> <BR>Khon의 연주는 Ramakien(Ramayana)로부터 유래한다. <BR> <BR> <BR>기타 귀하께서 문의하신 민속춤이나 놀이에 관한 자료는 영문뿐이어서 그대로 올려드립니다. <BR>사진과 함께 참고해 보시기 바랍니다. <P>Thai dance & dramaDance Traditional Thai theatre consist of six dramatic forms, Khon, formal masked dance-drama depicting scene from the Ramakian and originally performed only for the royal court. Lakhon, a general term covering several types of dance-dramas (usually for non royal occasions) as well as western theatre, Li-khe, a partly improvised, often bawdy folk play featuring dancing, comedy, melodrama and music. Manohra, the southern Thai equivalent of Li-khe, but based on a 2000 year old Indian story. <BR>Nang or shadow plays, limited to the Southern Thailand. And Lakhon or Hun Luang - puppet theatre.Thai khon artIn all Khon performance, four types of characters are represented, male humans, female humans, monkeys and demons. Monkeys and demon figures are always masked with the elaborate head coverings often seen in tourist promotion material. Behind the masks and make-up, all actors are male. <P>Traditional Khon is a very expensive production, Ravana's retinue (Ravana is the Ramakian's principle villian) consist of over a hundred demons, each with a distinctive mask. Perhaps because it was once limited to royal venues and hence never gain a popular following, the Khon or Ramakian dance-drama tradition nearly died out in Thailand. Bangkok's National Theatre was once the only place where Khon was regularly performed for the public, the renovated Chalemkrung Royal Theatre now host weekly Khon performances enhanced by laser graphics and high tech audio.Scenes performed in traditional Khon (and Lakhon performance) comes from Ramayana, the classic epic journey tale with obvious archetypal parallels in the greek epic the Odyssey, and the Greek myth of Jason and the Argonauts. The central story revolves around Prince Rama's search's for his beloved Princess Sita, who has been abducted by the evil 10 headed demon Ravana and taken to the island of Lanka. Rama is assisted in his search and in the final battle against Ravana by the monkey god Hanuman.Khon, the classical Thai performance play, animates Thai mythological stories through a series of dances, with characters wearing intricate masks displaying different emotions or characteristics. Once only shown to the royal court, the show is now available for all Thais and visitors to the kingdom. Masked dancers who never speak perform the Khon dance, with its classic theme. <BR>The story always revolves round the Ramakien epic (the Thai version of the Indian Ramayana) and is told in verse by singers behind the scenes. Khon characters include demons, monkeys, humans and celestial beings. Today, only the dancers portraying the demon and monkey roles wear masks. Each Khon mask has its own unique features and colors which help to identify specific characters. Normally, the good guys wear the white hats and, in this case, a dancer wearing a white mask, is a Hanuman, a virtuous monkey character. Thai lakhon artThe more formal Lakhon Nai (inner Lakhon) was originally performed for lower nobility by all-female ensembles. Today it's a dying art, even more so than the royal Khon. In additional to scene from the Ramakian, Lakhon Nai performances may includes traditional Thai folk tales, whatever the story text is always sung.Lakhon Nawk (outer Lakhorn) deals exclusively with folk tales and features a mix of sung and spoken text, sometimes with improvisation. Both male and female performers are permitted. Like Khon and Lakhon Nai, performances are increasingly rare. More common these days is the less refined Lakhon Chatrii, a fast-paced, costumed dance-drama usually performed at upcountry temple festivals or at shrines. Chatrii stories have been influenced by the older Manohra theatre of southern Thailand.Lakhon Phuut is the equivalent of western theatre based on the Greek model, all dialogue is spoken rather than sung. This is the most modern of Thailand' theatre traditions as well as the most popular in cities and larger towns.Thai li-khe artIn rural and small town Thailand this is the most popular type of live theatre. Though to have descended from drama-rituals brought to southern Thailand by Arab and Malay traders, the first native public performance in Central Thailand came about when a group of Thai Muslim stage a Li-khe for Rama V (1868-1910) in Bangkok during the funeral commemoration of Queen Sunantha. Li-khe grew very popular under Rama VI and has remained so ever since.Most often performed at festivals by troupes of travelling performers, Li-khe presents a colorful mixture of folk and classical music, outrageous costumes, melodrama, slapstick comedy, sexual innuendo and up-to-date commentary on Thai politics and society. Foreigners, even those who speak fluent Thai, are often left behind by the highly idiomatic, culture specific language and gestures. Most Li-khe performance begin with the awk khaek, a prelude in which an actor dressed in Malay costume takes the stage to pay homage to the troupe's teacher and to narrate a brief summary of the play to the audience.Thai manohra artAlso known simply as nora, this is Southern Thailand equivalent to Li-khe and the oldest surviving Thai dance-drama. The basic story line bears some similarities to the Ramayana. In this case the protagonist, Prince Suthon, set off to rescue the kidnapped Manohra, a kinnari or women-bird princess. As in Li-khe, performer add extemporaneous comic rhymed commentary - famed nora masters sometimes compete at local festivals to determine who's the best rappers. Thai nang artShadow puppet theatre,, in which two-dimensional figures are manipulated between a cloth screen and light source at night-time performances has been a Southeast Asia tradition for perhaps 5 centuries. Originally brought to Malay peninsular by Middle Eastern traders, the technique eventually spread to all parts of mainland and peninsular Southeast Asia. In Thailand its is mostly found in the South. As in Malaysia and Indonesia, shadow puppets on Thailand are craved from dried buffalo or crow hide (nang in Thai).Two distinct shadow play traditions survive in Thailand. The most common, Nang Thalung is named after Phattalung Province, where it developed based on Malay models. Like their Malay-Indonesian counterparts, the Thai shadow puppets represent and array of characters from classical and folk drama, principally the Ramakian and Phra Aphaimani in Thailand. A single puppet master manipulates the cutouts, which are bounds to the ends of buffalo-horn handles. Nang Thalung is still occasionally seen at temple fairs in the South, mostly in Songkhla and Nakhon Si Thammarat provinces. Performances are also held periodically for tour groups or visiting dignitaries from Bangkok.The second tradition, Nang Yai (big hide), uses much larger cutouts, each bound to two wooden poles held by a puppet master. Several masters (almost all male) may participate in a single performance. Nang Yai is rarely performed nowadays because of the lack of trained Nang masters and the expense of the shadow puppets. Most Nang Yai made today are sold to interior decorator or tourist. In 1994, in order to celebrate the king's 50th years on the throne, the fine arts department initiated a project to restore the original 180 year old set of Nang Yai figures used by the Thai Royal Court. The Project required the refurbishing of 352 puppets along with the creation of a hundred new ones to complete the royal set, known as Phra Nakhon Wai (city shaking), a tribute to the impact they had on audiences nearly 2 century ago. In addition to the occasional performance in Nakhon Si Thammarat or Bangkok, Nang Yai can be seen at Wat Khanon in Ratchaburi province. Where Nang Yai master Khru Chalat is passing the art along to younger men.