{"id":518170,"date":"2023-11-13T16:02:30","date_gmt":"2023-11-13T09:02:30","guid":{"rendered":"https:\/\/thailandfoundation.or.th\/?post_type=culture_heritage&p=518170"},"modified":"2025-05-15T18:14:40","modified_gmt":"2025-05-15T11:14:40","slug":"lakhon-thai-classical-dramatic-theater","status":"publish","type":"post","link":"https:\/\/thailandfoundation.or.th\/th\/lakhon-thai-classical-dramatic-theater\/","title":{"rendered":"Lakhon: Thai Classical Dramatic Theater"},"content":{"rendered":"

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Thai classical performing arts can be divided into four main categories: Ram, Rabam, Khon, and Lakhon. Ram refers to a specific form of solo or duet dances. Rabam encompasses a diverse range of dances. Khon is a form of masked dance theatre that portrays the story of Ramakien. Lakhon, or Thai Classical Dramatic Theatre, refers to the different forms performances that portray narrative stories. The story of Lakhon can reveal much about Thai history and culture.<\/span><\/p>\n

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From detailed choreography and soothing vocals to stunning costumes and carefully written scripts, \u00a0the elements of Lakhon captivates both sight and spirit of all who behold the art form.<\/span><\/p>\n

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What is Lakhon?<\/strong><\/span><\/p>\n

Terms similar to \u201clakhon<\/em>\u201d are found in many Southeast Asian cultures, each varying in spelling and slightly different in meaning. In Java, for example, the term \u2018lakon<\/em>\u2019 refers to the plot of a story, while in Cambodia, \u2018lakhon\/ lakhol\u2019<\/em> refers to theatrical drama. In Bali, the term \u201clegong<\/em>\u201d refers to a type of dance with refined and intricate gestures. All of these terms point to a commonality involving performance art.<\/span><\/p>\n

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In Thailand, \u201cLakhon\u201d refers to the many types of classical dramatic theatre that depict narrative stories. This is in contrast with Ram and Rabam, which refer to dances with no storyline. Unlike modern theatre forms, which rely on realistic acting and dialogues, most forms of Lakhon rely heavily on dance and music to convey the story. Thus, choreography in Lakhon must be painstakingly executed to deliver the characters\u2019 inner thoughts and emotions. This has led many to describe Lakhon as \u201cdance dramas\u201d. However, there are also forms of Lakhon that do not rely heavily on choreography, such as Lakhon Phud (Speaking Lakhon). Other important aspects of Lakhon include acting, costumes, stage design, script, as well as spiritual rituals.<\/span><\/p>\n

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The plot of Lakhon is based on a broad range of stories, including folk tales and Jataka stories<\/a>, such as Phra Suthon, Sangthong<\/em> (The Prince of the Golden Conch Shell), and Khawi<\/em>, as well as stories originating from other parts of the world, such as Inao<\/em> (Panji Tales) from Java, and Unnarut<\/em> (Aniruddha) from India. This is in contrast to another popular Thai theatrical form, Khon<\/a> (Thai Masked Dance Drama), whose plot is based solely on the Ramakien<\/em>, the Thai version of the Hindu epic Ramayana<\/em>.<\/span><\/p>\n

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\"\"Lakhon Chatri (Cr. Chula)<\/span>
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History of Lakhon<\/strong><\/span><\/p>\n

Sukhothai Era <\/u><\/span><\/p>\n

The journey of Lakhon can be traced back to the ancient Kingdom of Sukhothai<\/a> (1249-1438). During this period, cultural influences from India ran deep across Southeast Asia. Indian literary works and religious beliefs influenced many aspects of Thai culture, including folk dances. The ritual dance of Brahmanism, for example, is believed to have inspired dramatic performances in religious ceremonies during this era. In fact, dances were common features during festivities. This is evident by the inscriptions of King Ram Khamhaeng the Great<\/a>, which mention dances performed during Kathina<\/a> festival.<\/span><\/p>\n

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Ayutthaya Era<\/u><\/span><\/p>\n

During the Ayutthaya<\/a> period (1351-1767), there are many forms of dance, theater, and folk play. These entertainments were collectively known as \u201cMahorasop\u201d, a term referring to plays or performances that were regulated by the authority. It was during this era that dance dramas became categorized into different forms of Lakhon, including Lakhon Chatri, Lakhon Nok (performed outside the palace), and Lakhon Nai (performed within the palace). Lakhon became widely popular, with set rules and regulations being laid for each theatre type and choreography being developed into standard patterns.<\/span><\/p>\n

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Mahorasop during Ayutthaya period (Cr. silpa-mag)<\/span><\/p>\n

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Early Rattanakosin Era <\/u><\/span><\/p>\n

The early Rattanakosin period (1782-1851) was a flourishing age of literature, poetry, fine arts, and performance arts. King Buddha Yodfa Chulaloke<\/a> (Rama I), who reigned from 1782-1809, was committed to preserving the arts of Thailand. The king contributed to the establishment of a Khon theater in the royal palace as well as the production of the Tamra Phap Ram<\/em> (The Book of Thai dances), which documents various dance forms in detailed illustrations. The book became a foundation text for future students of Thai performance art.<\/span><\/p>\n

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King Rama I was succeeded by his son, King Phra Phutthaloetla Naphalai\u2019s<\/a> (Rama II), whose reign (1809-1824) was known as the golden age of Thai literature. As a prolific playwright and poet, King Rama II greatly contributed to the revision, restoration, and refinement of multiple poetic pieces that were used as Khon and Lakhon scripts, including Ramakien<\/em>, Inao<\/em>, and Sungthong<\/em>, among others. Many of these works would later be regarded as masterpieces of Thai literature.<\/span><\/p>\n

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Inao (Cr. silpa-mag)<\/span><\/p>\n

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Westernization Period <\/u><\/span><\/p>\n

During the mid-Rattanakosin period (1851-1925), Thailand underwent the process of Westernization. Western theatrical elements made their way into the Thai performance art scene, making Thai dance, theatre, and music more diverse and popular. As such, the development of Lakhon was heavily influenced by Western ideals of theatre.<\/span><\/p>\n

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King Chulalongkorn<\/a> (Rama V), who reigned from 1853-1910, and his courtiers played an important role in creating new forms of theatres for both private and public entertainment. These included Lakhon Dukdamban, Lakhon Sepha, and Lakhon Phanthang. The creations could be seen as a response to the new lifestyle and the changing tastes of audiences. These modern Lakhons were inspired by Western opera while still retaining elements of traditional Thai theatre. For instance, Lakhon Dukdamban still adheres to traditional verse narrative, but it might incorporate elements of realism from Western theaters, such as the use of scene design and realistic costumes. Adaptations of Western plays were also grew in popularity.<\/span><\/p>\n

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Lakhon Dukdamban (Cr. baanjomyut)<\/span><\/p>\n

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Golden Age of Theater<\/u> \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong><\/span><\/p>\n

King Vajiravudh<\/a> (Rama VI), who reigned from 1910-1925, was a truly passionate dramatist. His reign was regarded as the Golden Age of Theater, with more rising forms of theaters in the court and the public. His great contribution to preserving theatrical art was the establishment of the Royal Entertainment Department responsible for all traditional performance activities under his close supervision. The department went on to establish the first official traditional performing art school: Rongrien Pran Luang. There was also a school for his scouts to learn music and drama with a built-in theater.<\/span><\/p>\n

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Thai musicians at the Royal Entertainment Department<\/span><\/p>\n

during Rama VI reign (Cr. \u0e01\u0e23\u0e21\u0e28\u0e34\u0e25\u0e1b\u0e32\u0e01\u0e23)<\/span><\/p>\n

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The king was a gifted writer. He wrote more than hundreds of plays and translated countless literary works from other languages, including William Shakespeare\u2019s English plays and \u00c9milie Fabre\u2019s French plays. When translating Shakespeare\u2019s blank verse, the king localized it into the form of Thai octameter poem, while adding puns without making the meaning any different from the original work. Such was the literary mastery of King Rama VI.<\/span><\/p>\n

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Many of his works were featured in Lakhon Phud, a popular form of theater that is characterized by its exclusive use of dialogues, with no dance or singing interspersed. Lakhon Phud originated during the previous reign of his father, King Chulalongkor, but was later popularized with more diverse plays through Rama VI\u2019s contribution.<\/span><\/p>\n

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Studies from the Journal of Humanities by Surapone Virulrak<\/a> suggest that dramatic literature in each era reflects not only the differences in the monarch\u2019s taste but also the policies and values he wants to promote. Rama VI\u2019s translated works reflected his promotion of the English language and foreign cultures. The works also promoted patriotic sentiments. Huajai Nak Rob<\/em> (A Warrior\u2019s Heart), for example, was a play performed to promote the chivalric role of soldiers, encouraging the Thai people to protect their country.<\/span><\/p>\n

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Revival Age of Thai Classical Theater <\/u><\/span><\/p>\n

Performing arts had always been under the royal patronage, however, they were passed into the hands of the civilian government when the country underwent threats from the Second World War. In response to the economic recession in the early 90s and the emergence of movies as a new source of entertainment, traditional performance arts of the royal court was financially limited and eventually declined in popularity.<\/span><\/p>\n

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King Bhumibol Adulyadej<\/a> (Rama IX), whose reign lasted from 1946-2016, and Queen Sirikit<\/a> recognized the importance of preserving Thailand\u2019s national heritages and began to revive disappearing traditional performing arts, including supporting and honoring skilled artists. The King himself had been close to the tradition since his childhood and had performed Khon at the royal palace school on several occasions. The King also wrote the novel Phra Mahachanok<\/em>, which was based on the Buddhist story of Mahajanaka<\/em><\/a>. The story was later adapted into a Lakhon script by National Artist Seri Wangnaitham. Throughout King Bhumibol\u2019s reign, traditional theaters made a comeback, incorporating modern innovations such as scene design, lighting, audio, and computer-controlled systems.<\/span><\/p>\n

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Phra Mahachanok <\/em>by King Bhumibol Adulyadej<\/a> (Cr. komchadluek)<\/span><\/p>\n

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In 1985, the government declared 24th<\/sup> of February of every year\u00a0 as the National Artist Day to commemorate the birthday of King Rama II who was an important patron of the arts, as well as honor artists who have made great contributions to fields. These include artists from the realm of performance arts such as Khon and Lakhon.<\/span><\/p>\n

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Types of Lakhon<\/strong><\/span><\/p>\n

There are types of Lakhon, which can be grouped into three categories:<\/span><\/p>\n

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  1. Lakhon Ram (<\/u>\u0e25\u0e30\u0e04\u0e23\u0e23\u0e33<\/u>)<\/u>, or \u201cDance Dramas\u201d, focusses on telling the story through dance movements accompanied by vocal and instrumental music. Choreography is used to portray characters\u2019 emotions and thoughts.<\/span><\/li>\n
  2. Lakhon Rong (<\/u>\u0e25\u0e30\u0e04\u0e23\u0e23\u0e49\u0e2d\u0e07<\/u>)<\/u>, or \u201cMusical Dramas\u201d, focuses on using singing to tell the story.<\/span><\/li>\n
  3. Lakhon Phud (<\/u>\u0e25\u0e30\u0e04\u0e23\u0e1e\u0e39\u0e14<\/u>)<\/u>, or \u201cSpoken Drama\u201d, focuses using spoken dialogue with true-to-life acting that allows audiences to connect with the characters.<\/span><\/li>\n<\/ol>\n

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    Now, let us examine each type of Lakhon.<\/span><\/p>\n

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    Lakhon Chatri (<\/strong>\u0e25\u0e30\u0e04\u0e23\u0e0a\u0e32\u0e15\u0e23\u0e35<\/strong>)<\/strong><\/span><\/p>\n

    Some sources say that the term \u201cchatri<\/em>\u201d is derived from the Sanskrit word \u201ckshatriya\u201d, <\/em>referring to the aristocratic warrior caste in Hinduism, as the genre often portray stories of kings. Others believe that the genre could have been inspired by a group of roaming performers in India known as Yatra or Yatri. One of the most popular plays for the group is Gita Govinda<\/em>, a story of Lord Vishnu’s incarnation form that consists of only of three characters.<\/span><\/p>\n

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    Lakhon Chatri is considered to be the oldest folk-style of Thai classical dance-drama. Originally, Lakhon Chatri is mainly played by three characters, Phra <\/em>(Hero), Nang<\/em> (Heroine), and a Talok<\/em> (Comic), all of whom are played by men. The costumes used in the show were simple; characters were usually shirtless aside from the main protagonist (usually a royal prince) who would be wearing a Sanap Phlao (traditional half-calf trousers), ornaments, and a crown. The traditional makeup was made from turmeric, creating yellowish skin on each character. Lakhon Chatri later went through multiple changes throughout its long history. Today, women are allowed to participate in the play, while costume styles became fancier. Lakhon Chatri dance and costume was famously featured in the music video of Michael Jackson\u2019s Black Or White<\/em>.<\/span><\/p>\n

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