©ICBTS Copyright by Author(s) |The 2024 International Academic Multidisciplines Research Conference in Seoul 137 EMBODIMENT THEORY IN THAI CLASSICAL DANCE

Mananshaya  Phetruchee; Manissa  Vasinarom; Whutthichai  Khathawi; Sakchai  Iamkrasin; Cheerawat  Wanta

Mananshaya Phetruchee Suan Sunandha Rajabhat University
Manissa Vasinarom Suan Sunandha Rajabhat University
Whutthichai Khathawi Suan Sunandha Rajabhat University
Sakchai Iamkrasin Suan Sunandha Rajabhat University
Cheerawat Wanta Suan Sunandha Rajabhat University

Keywords: Thai classical dance, Embodiment theory, Pleng Cha Pleng Reow, Thai court drama

Abstract

The purpose of this qualitative research was to explore the relationship between
Embodiment theory and Thai classical dance. The author synthesized knowledge from texts,
academic documents, self-training, experiences from teaching and performing, observation and
expert interviews. The data were analyzed by criticism the inductive and deductive, analyzed
by categorizing information, analytic induction, and verifying the validity of the findings with
the experts. It was ascertained reliability and validity again with triangulation. The data were
also presented by analytical description. The finding showed that Thai classical dancers
practiced Pleng Cha Pleng Reow seriously, took a long time, and repeated many times until the
skill was born. Intensive training leads to off-line cognition, implicit memory, reasoning, and
problem-solving when there is an immediate problem. Thai classical dancers create and present
creative dance from our own embodied cognition, including academic knowledge and customs.
This theory results in a unique and stunning performance style called Trick and Identity of Thai
classical dancers. And show the reason how to cast Thai classical dancers in various roles.
Because in the end, Thai classical is the most aesthetically pleasing.