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Lakohn Nai was originally presented only in the royal court. It was graceful, romantic, and sophisticated. There were clear similarities between Lakohn Nawk and Lakohn Nai. Since Lakohn Nai was strictly performed in a royal court and noble patrons’ residences, it was much more beautiful and refined.

The ultimate goal of Lakohn Nai production was to maintain integrity of three particular areas of Thai culture: the highly styli zed traditional Thai dance, the customs of royal court, and the romantic language.

Music accompanying Lakohn Nai was slow enough to allow dancers to move gracefully. The Piphat ensemble of various sizes performed alongside. The dance move was strictly composed according to traditional style. The cast members mimed the story line while scripts and lyrics were provided by a singer and the chorus offstage.  

There is hardly any comedic dialogue. The conversations consisted mostly of a formal language, with sparse use of the colloquial language only in parts that were related to commoners. Lakohn Nai featured an all-female cast. There could be some supporting roles played by male performers.

There were only three stories used in Lakohn Nai, which were Rammakien, Inao, and Unnarut. A few more stories were added later – one of which was Sakuntala, written by King Rama VI.

Lakohn Sepaa originated simply as a story telling. It evolved into a verse and music recital using Krab, a percussion instrument consisted of two pieces of wood, to control the rhythm of the Sepaa song.

Sepaa began in the Ayutthaya Kingdom in the reign of King Trailokanat around 1468 AD. Originally, there was not any music instrument to accompany Lakohn Sepaa. Not until the reign of King Rama II of the Rattanakosin period did the Piphat ensemble – a mid sized orchestra which consisted of wind and percussion instruments – perform together with Lakohn Sepaa.

In the reign of King Rama IV and V of the Rattanakosin period, Lakohn Sepaa developed into a more elaborated performance with a larger Piphat ensemble and actors who played out the story.

Lakohn Duekdumban – Thai Opera

The Thai Opera started in the reign of King Rama V of the Rattanakosin period. It was conceptualised by Chao Phraya Tewatewongwiwat’s theatrical troupe named Duekdumban Theatre. Chao Phraya Tewatewongwiate travelled to Europe in 1891 AD. During his trip abroad, he had a chance to attend an opera show and was greatly impressed by it. When he returned home, he had an idea to stage an opera show in Thai style. Continued over

Ayutthaya Klong Sa Bua Floating Market & Water Theatre

44 Moo 5 Tambol Klong Sabua, Amphor Phranakorn Sri Ayutthaya, Ayutthaya 13000, Thailand,

Ayutthaya Floating Market, Page 17, Water Theatre Shows, Panorama Pictures of the Market Ayutthaya Floating Market, Page 19, The Water Theatre, Nang Sib Song ( The Twelve Maidens )