Thai Classical Dance Techniques for the Role of Inao in the Depression Scene of Inao Khaneung Theung Jintahravati Episode

Abstract

This research aims to 1. Study both the historical background of the literature, titled Inao, and Inao stage play performance by the Department of Fine Arts, 2. Structurally analyze Inao Khaneung Theung Jintahravati scene in the stage play performance by the Department of Fine Arts, 3. Analyze the Role of Inao in the Sorrow dancing techniques, based on Kru Wantani Muangboon’s methods. This is the qualitative research. The findings of the research are as follows. 1. The literature titled Inao is originated from Indonesia’s Panji Inu Kertapati during Ayutthaya period. The Inao of King Rama II is the most popular. And the Department of Fine Arts uses it until today. 2. The scene is different from the play performed by females (Lakorn Nai) in several points: The play is modified to be briefer, The music and songs are cut and added some songs and music, the musicians and singers are both females and males. the performers are preferred mostly females The costumes and their embroidery are modified, Inao character can wear both short-handed and long-handed shirt, the realistic scene and props are used but traditional dancing methods by females (Lakorn Nai) are reserved. 3. Inao’s dancing techniques in the scene (Inao sorrows) are the dances that show falling in love emotions. The dancing techniques are as follows: 1) Feeling Expression Techniques is divided into 3 stages of emotions which are frustration, falling in love and sadness. The feeling is expressed by face and actions, using eyebrows, eyes and mouth. Each feeling expression method is harmoniously combined, 2) Watching Techniques which refers to looking at Jintahravati: the performer must look at the same direction, looking towards the hands and script and meanings beautifies more elegantly, 3) Sitting and Standing Dance are useful for expressing the frustration and falling in love, and the performer’s pose become more elegant as well, 4) Face Expressions are practiced to harmoniously combine each dancing method.