Articles on Traditional plays and Performances in the Phasom Phasan Literary Series by Prince Bidyalongkorn: Distinctive Features in Content and Language Techniques

Abstract

Background and Objectives: The Phasom Phasan literary series gathers various works of Prince Bidyalongkorn. One group of his works that stands out for both its content—closely related to the context of performing arts during the reign of King Rama VIII—and its engaging use of language consists of the articles on traditional plays and performances. This research aims to study and analyze the content characteristics and language usage in the articles on traditional plays and performances in the Phasom Phasan literary series by Prince Bidyalongkorn.

Methods: This research article is documentary research focusing on analyzing the content and language techniques used in the articles on traditional plays and performances in the Phasom Phasan literary series by literary studies approach, conducted in relation to the context of Thai performing arts during the period in which Prince Bidyalongkorn composed the work, aiming to clarify content presentation.

Results: The articles exhibit distinctive characteristics, combining both informative and critical elements. Namely, the articles aim not only to inform readers on unfamiliar traditional plays and performances during this period, but also to criticize the performing arts phenomenon that was changed in the reign of King Rama VIII. Some articles provide direct criticism of artistic performances by using language techniques to clarify knowledge and opinions, as well as to create the enjoyment of reading. These techniques include creating titles, using figures of speech, coining new vocabulary, and creating humor.

Application of this study: The research findings provide understanding and appreciation of the articles on traditional plays and performances in the Phasom Phasan literary series. The series highlights the author’s literary and art and cultural brilliance and serves as valuable literary documentation that reflects art and cultural transformations in Thailand during the reign of King Rama VIII.

Conclusions: This research article highlights Prince Bidyalongkorn’s profound knowledge and keen interest in both traditional Thai and international plays and performances. His criticisms show a dual role: as a preservationist and a supporter of any changes that are beneficial to Thai art and culture, aligning with the evolution of the performing arts in that era. This study results emphasize the value of the articles on traditional plays and performances in the Phasom Phasan literary series, being timeless and beneficial to readers of all backgrounds.