Bangkok (Lonely Planet) - Andrew Burke [31]
Perhaps because it was once limited to royal venues and never gained a popular following, the kǒhn or Ramakian dance-drama tradition nearly died out in Thailand. Bangkok’s National Theatre was once the only place where kǒhn was regularly performed for the public; the renovated Sala Chalermkrung now hosts occasional kǒhn performances, enhanced by laser graphics and hi-tech audio.
Scenes performed in traditional kǒhn (and lá·korn performances – see the following section) come from the ‘epic journey’ tale of the Ramayana, with parallels in the Greek Odyssey and the myth of Jason and the Argonauts.
Lá·korn
The more formal lá·korn nai (inner lá·korn, which means that it is performed inside the palace) was originally performed for lower nobility by all-female ensembles. Today it’s a dying art, even more so than royal kǒhn. In addition to scenes from the Ramakian, lá·korn nai performances may include traditional Thai folk tales; whatever the story, text is always sung. Lá·korn nôrk (outer lá·korn, performed outside the palace) deals exclusively with folk tales and features a mix of sung and spoken text, sometimes with improvisation. Male and female performers are permitted. Like kǒhn and lá·korn nai, performances of lá·korn nôrk are increasingly rare.
Much more common these days is the less refined lá·korn chah·đree, a fast-paced, costumed dance-drama usually performed at upcountry temple festivals. Chah·đree stories are often influenced by the older má·noh·rah theatre of southern Thailand.
A variation on chah·đree that has evolved specifically for shrine worship, lá·korn gâa bon involves an ensemble of about 20, including musicians. At an important shrine such as Bangkok’s Lak Meuang, four gâa bon troupes may alternate, each for a week at a time, as each performance lasts from 9am to 3pm and there is usually a long list of worshippers waiting to hire them.
Lí·gair
In outlying working-class neighbourhoods of Bangkok you may be lucky enough to come across the gaudy, raucous lí·gair. This theatrical art form is thought 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 Muslims staged lí·gair for Rama V in Bangkok during the funeral commemoration of Queen Sunantha. Lí·gair grew very popular under Rama VI, peaked in the early 20th century and has been fading slowly since the 1960s.
Most often performed at Buddhist festivals by troupes of travelling performers, lí·gair is a colourful mixture of folk and classical music, outrageous costumes, melodrama, slapstick comedy, sexual innuendo and commentary on Thai politics and society. Fà·ràng – even those fà·ràng who speak fluent Thai – are often left behind by the highly idiomatic language and gestures. Most lí·gair performances begin with the òrk kàak, 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. For true lí·gair aficionados, the visit of a renowned troupe is a bigger occasion than the release of an international blockbuster movie at the local cinema.
Lá·korn Lék
Lá·korn lék (little theatre; also known as hùn lǒoang, or royal puppets), like kǒhn, was once reserved for court performances. Metre-high marionettes made of kòi paper and wire, wearing elaborate costumes modelled on those of the kǒhn, were used to convey similar themes, music and dance movements.
Two to three puppet masters were required to manipulate each hùn lǒoang – including arms, legs, hands, even fingers and eyes – by means of wires attached to long poles. Stories were drawn