การขยายประสบการณ์ภายในของตัวละครด้วยวิธีปฏิบัติภาวนาทางพระพุทธศาสนา กรณีศึกษา ตัวละคร นาก จาก Land & Skin: The Ballad of Nak Phra Khanong

Main Article Content

Tanatchaporn Kittikong

Abstract

 This practice as research in performing arts attemtps to articulate how the character’s inner experience can be magnified and created using Buddhist Theravada meditation-based approach. Focusing on performer’s work under the well-known role ‘Nak’ (Thai female ghost from Phra-Khanong), from the performance “Land & Skin: The ballad of Nak Phra Khanong” as case study. This is a Practice as Research, studying and analyzing through performer’s direct experience in her creative process as research methods. The performer as researcher using this meditation-based approach and Buddhist’s view on characteristics of ‘mind’ to understand character’s inner experience and to perform the role through being and experiencing the phenomena of mind. From character’s interpretation and creation to choices and decisions making in performing, the discussion focuses on reading Nak’s inner experience in connection with performer’s action occured on stage under this approach. The conclusion is that Meditation-based Approach allows the performer to deeply analyze the character’s inner experience and to be able to create and to live in the moment of experience better with a greater quality of presence.    

Article Details

Section
Research article

References

1. ธนัชพร กิตติก้อง. “Practice as Research in Performance: การ
วิจัยสร้างสรรค์ด้านศิลปะการแสดง.” วารสารศิลปกรรมศาสตร์
มหาวิทยาลัยขอนแก่น 8, 1 (มกราคม-มิถุนายน 2559): 107-130.

2. สำนักงานราชบัณฑิตยสภา. “ราชบัณฑิต จดหมายข่าวราชบัณฑิตยสถาน ปี
ที่ ๒ ฉบับที่ ๑๔, กุมภาพันธ์ ๒๕๓๓.” สืบค้นวันที่ 1 สิงหาคม 2560.
http://www.royin.go.th.

3. Barrette, E., and Bolt, B. Practice as research approaches to creative
arts enquiry. London: I.B. Tauris, 2010.

4. Brask, P., and Meyer-Dinkgräfe, D. Performing Consciousness. Newcastle upon Tyne: Cambridge Scholars Publishing, 2010.

5. Chamberlain, F., Middleton, D., and Pla, D. “Buddhist Mindfulness
and Psychophysical Performance.” Paper presented at the
International Symposium for Contemplative Studies, Boston,
2014. Retreived from http://eprints.hud.ac.uk/23013/1/
Chamberlain_ Middleton_Pla.pdf.

6. Demastes, W. Staging Consciousness. United States of America:
The University of Michigan Press, 2002.

7. Goodall, J. Stage presence. London: Routledge, 2008.

8. Kittikong, T. Noting the self: From embodying Buddhist Vipassana
meditation to meditation-based performance. Doctor of
Philosophy, Edith Cowan University, 2014. Retreived from
http://ro.ecu.edu.au/theses/1564.

9. Kittikong, T. “Choreographing the Site of Impermanence: Performing Body with Buddhist Philosophy and Meditation in Movement-based Performance.” Dance Movement and
Spiritualities Journal, 2, 1 (2015): 57-72.

10. Maneewattana, C. Reading Samuel Beckett in the Light of Buddhism: A case study in the tradaption of Waiting for Godot
into Thai buddhist context. Doctor of Philosophy, University
of Bristol, 2014. Retreived from http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos .654438

11. Meyer-Dinkgräfe, D. Theatre and Consciousness: Explanatory scope
and future potential. Bristol: Intellect, 2005.

12. Punpeng, G. Meditation in motion to mindfulness in performance:
a psychophysical approach to actor training for Thai
Undergraduate drama programs. Doctor of Philosophy,
University of Exeter, 2012. Retreived from https://ore.
exeter.ac.uk/repository/handle/10036/3652

13. Wisdom Library. Accessed August 5, 2017. https://www.wisdomlib.
org/defnition/sabhava.

14. Zarrilli, P. Psychophysical Acting: an intercultural approach after
Stanislavsky. London: Routledge, 2009.

15. Zarrilli, P., Daboo, J., and Loukes, R. Acting: Psychophysical Phenomena and Process: Intercultural and Interdisciplinary Perspectives. London: Palgrave Macmillan, 2013.