Dance / Creation 2021
18-22 Mar 2021 / 19:00
Venue : Lido Connect

Jitti sees that the Khon mask is rarely examined on its own or freed from traditional constructs. His fundamental idea is that Khon masks are not merely visual representations of narrative characters but are “organs” that organically shift with the body. He probes into an embodiment of the demon Thosakan’s narrative through the key concepts of body architecture, moving sculpture, and dance scenography.

In building the choreography of Melancholy of Demon Jitti works with the architecture of the body, which corresponds with how Khon dance is constructed. The traditional choreography arranges the Khon mask, costume, and body postures to complement each other in shape and proportion. This is done to illustrate the outer space of the body to align with Thai traditional architectural designs. Jitti takes this approach in viewing the outlines of the body and its anatomical structure. On a minimal canvas he experiments with shaping disconnected body parts, as well as merging two bodies into one figure. In regarding the body as architectural, Jitti contemplates the connecting points of limbs and the movement of joints to attach and detach body structures. The process of mismatching allows extensive possibilities of transformation with just two human bodies, both moving as a singular being and multiple beings.

The merging of two bodies also opens possibilities to illustrate bodily absurdities and peculiar images. In displaying some body parts and hiding others, he found the tendency for our cognition to connect invisible contours based on our preconceptions of a functional body. And strangely, when it doesn’t fall into our expectation of being “human”, we automatically intuit the figure as “animal”. This automatic intuition also works with those who are acquainted with Khon dance. When certain configurations of the body match traditional positions, they instantly sense different characters – whether that be demon, deity, or monkey. Similarly, bodily expressions of gender in Khon are quite distinctive: Female and male characters undergo different training. Jitti inquires into how an individual can embody both masculinity and femininity through body postures and positioning.

Credit
Direction , Choreography, Setting and Concept : Jitti Chompee
Director’s Assistant and Text : Kanokporn Vorapharuek
Performing Artists : Anucha Sumaman , Anand Wongpaisan and Yarnawut Traisuwan
Dancers : Kanokporn Vorapharuek, Sirichai Asawapitakchon
Photographer : Piyatat Hemmatat
Lighting : Jirach Eaim sa-ard
Content reviewer : Suteera Nagavajara
Masks : Phirun Phirawat
Technical Support and Communication : Sirithorn Srichalakom, Haisang Javanalikhikara,
Khajittam Phattayakul, Pornrak Chowvanayotin, Ithinath Tantivitittapong

Supported by Office of Contemporary Art and Culture (OCAC), Ministry of Culture
ได้รับการสนับสนุนโดยสำนักงานศิลปวัฒนธรรมร่วมสมัย กระทรวงวัฒนธรรม

Reservation : 18monkeysdancetheatre@gmail.com
Line ID: Khon2021 / FB:18monkeysdancetheatre / Tel: 0818143304