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He uses small, translucent shadow figures to perform in Songkla, Phattalung, and Nakhon Si Thammarat areas. He is the head of the nine person troupe. He manipulates all the puppets, delivers all the dialogue, sings, and directs his assistants and musicians.
The nang nai performs on a small, enclosed, outdooors raised stage with viewers below, alternating between entertainment, political critique, and ritual formulas. His role is similar to the dalangpuppetmaster of the Malay and Indonesian region.
Performers may undergo an initiation ceremony when ready to become a practising puppeteer. In the s, the artists, responding to the impact of television, film, video, and digital entertainments, rarely presented stories derived from the Ramakienthe Thai Ramayana. Instead new stories represent local people wearing mini-skirts and jeans. Speeded up puppet movement and electronically amplified music attracted enthusiastic audiences at temple fairs.
Since the s, nai nang have supplemented their income creating quickly produced figures for the tourist market of the beach resorts. Nai nang continue to adapt in the preservation and modernization of their art. See ThailandShadow Theatre. Fiche technique Nai Nang Country Thailand. Bibliography Broman, Sven. Shadows of Life. Bangkok: White Orchid, Dowsey-Magog, Paul. Asian Theatre Journal. XIX, No. Smithies, Michael, and Euayporn Kerdchouay. The Siamese Theatre.
Matini Rutnin. Bangkok: Siam Society,Nang of thailand
email: [email protected] - phone:(598) 831-6978 x 3440