Research & Article

Thai theater, following the trend of most in Southeast Asia, can best be described as a spectacle, with music, song and dance all serving as integral aspects of the performance. In addition to khon and lakon, dancing reserved for Thai courts, popular drama in Thailand has taken on four main forms. The first is nang yai, a big shadow play that died out in response to the rise of cinema and television. There is also manora and nang talung, both of which are from and still popular in the south of Thailand. The final form is likay, or Siamese folk opera, which is the most popular of the aforementioned genres and is viewed nationwide. This last form is the focus of the article. Through a detailed analysis of likay, it becomes clear that its origins are uncertain, with various aspects suggesting either Malay or Indian routes. In addition to an exploration of its historical context, the article provides an in-depth understanding of likay, including the procedures of a typical show, its general audience, stereotypical plots and the contributions of Phra Hom Huan, a leader in the field. The article goes on to argue that the practice of performing likay live is slowly dying out, particularly due to the development of cinema, and thus takes on a negative tone when discussing the future of Siamese folk opera.