DOIONLINE 
DOIONLINE Publish In |
International Journal of Management and Applied Science (IJMAS)-IJMAS |
 Journal Home Volume Issue |
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Issue |
Volume-3,Issue-4 ( Apr, 2017 ) | |||||||||
Paper Title |
Ram ok-Parsa Relating to Approaches of Chaopraya Mahintarasakthamrong (Peng Benyakul) Dance Theatre Troupe | |||||||||
Author Name |
Supavadee Potiwetchakul | |||||||||
Affilition |
Performance Department, Suan Sunnandha Rajabhat University, Bangkok, Thailand | |||||||||
Pages |
69-76 | |||||||||
Abstract |
This research aims to study origin, components, sequences of performance and approaches to Ram Ok-Parsa (dance suggesting foreign characters) of Chaopraya Mahintarasakthamrong (Peng Benyakun) Dance Theatre Troupe. This dance approach has been passed onto artists in the Fins Arts Department during King Rama IX reign since 2495 BC until present. Three foreign characters in Rajatiraj are Burmese, Mon and Chinese. Qualitative research methods were employed consisting of documentary research, In-depth interview, participation observation and practice with senior artists. The research found that, during the King Rama IV and the King V reign (2391-2437 BC), Chaopraya Mahintarasakthamrong (Peng Benyakul), government officer and owner of famous dance troupe, brought new dimension to Thai dance, i.e., realistic costume, building large theatre, introducing ticket system, and composing drama which combined with various chronicle resulting in various nations’ characters. Therefore, the new way to dance called “Chaopraya Mahin’s approach” or “Ram Ok-parsa” was introduced which divided into 2 patterns; 1) for Burmese and Mon character, they generally perform similar to Royal Thai dance except body movement method by controlling upper body balancing weight having 4 types which are; 1.1) tilting body “Yoe Tao” and “Tee-lai” continuously; 1.2) tilting body “Yoe Tao” and “Tee-lai” to the side and stop for 1-2 second, then switching to the opposite side continuously; 1.3) tilting one-side of shoulder forward and opposite side backward “Kra-Tai-Lai”; 1.4) begin with tilting body “Yoe Tao” with “Tee-lai” and finish with “Kra-Tai Lai”. 2) for Chinese character, the movement of hands, feet, and body are used similar to Chinese opera in Thailand. Chaopraya Mahintarasakthamrong’s dance approach has been carried on and developed to be prototypes of Ram Ok-Parsa suggesting other nations’ dances. Index Terms - Ram Ok-Parsa, Chaopraya Mahintarasakthamrong (Peng Benyakul) Dance Theatre Troupe | |||||||||
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