สำนักราชบัณฑิตยสภา

«“√ “√ √“™∫— ≥±‘ µ¬ ∂“π ªï ∑’Ë ÛÒ ©∫— ∫∑’Ë Ò ¡.§.-¡’ .§. ÚıÙ˘ Srisurang Poolthupya 273 singing. The staging is similar to “Chak Nag Duk Damban” of the Ayudhya period. 8 Khon Rong Nok or Khon Nang Rao is performed on a raised platform with a long big bamboo bar for the royal male characters to sit on while royal female characters sit on a large bench. There is usually a roof above this kind of stage. There are two orchestras, one on the left and one on the right of the stage. Like Khon Klang Plaeng, there are only the recitation and dialogue. Khon Na Jaw is adapted from Nang Yai or the grand sha- dow play. There is a white screen like in Nang Yai. The performers perform in front of the screen. Formerly Khon Na Jawwas played alternately with Nang Yai. Later, as people prefer watching Khon only, Nang Yai is not performed with it. The dialogue, recitation and music of Khon Na Jaw are similar to those of Nang Yai. There is only one orchestra and no singing. Khon Rong Nai is performed inside a theatre. It brings in the art of Lakhon Nai to mix with Khon. Therefore, it incorporates dancing, singing of the Lakhon with the recitation and dialogue that are typical of Khon. There are big benches for royal characters to sit, human characters and monkeys sit on one side and the demons on the other. Khon Chak Rok is believed to be performed since the Ayu- dhya period. The characters who can fly actually float in the air by the use of pulleys. The actor attaches a big strong string with a hook behind his back and he will be pulled up in the air to give the impression of flying. The acrobatic skill is needed. Apart from this, it is the same as Khon Na Jaw. Khon Chak means the mo- dern Khon performance which is performed in a theatre with settings (chak) and modern stage tech- niques. There are dancing, singing, recitation and dialogue. There is only one orchestra at one side below the stage. Khon Na Fai is the outdoor performance of Khon in front of the cremation site at the temple. In the old days, a well-to-do family would provide a Khon Na Fai at the funeral of the deceased one. This practice is rare now. The performance usually resembles that of Khon Rong Nai except for the fact that it is not performed inside a theatre. The episode chosen is often a short one with few characters because of the limited space and time. When the cremation ceremony is over, the performance may be continued on a highly raised open-air stage, playing a longer episode that may last the whole night to honor the deceased person. This later per- formance is not called Khon Na Fai because the “Fai” or fire of the funeral pyre is already burnt out. Khon Sod is the folk version of Khon. In some areas, it is called Nang Sod because the characters sing their own parts and use the songs resembling those of the shadow play or Nang Talung. Their dancing gestures also re- semble Nang Talung. The masks are not worn completely like those of Khon performers but they are worn perched on top of the head above the eyebrows so that they can recite and speak for them- selves while the other kinds of Khon characters never recite nor speak except for the comic cha- racters who also wear their masks perched on top of the head. The word “Sod” means “simultaneous” or “in the flesh” for the characters are men in the flesh who recite, sing or speak their own parts without waiting for the narrator or chorus to do for them. The art of Khon performance gives rise to various art forms: In the field of performing arts, it is believed that Khon gives birth to at least 4 forms of pup- petry or “Hun” in Thai. Hun Yai or large full figure puppets are dressed up exactly like the Khon characters, they are one metre tall and have hidden mechanisms to make them move through various strings inside the body parts and the pole in the middle of the body. The mecha- nisms enable the HunYai to dance, make finger movements, roll the eyes and so on. The costumes can be changed and the masks can