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Lakorn Nok (Thai: ละครนอก, pronounced [lā.kʰɔ̄ːn nɔ̂ːk]) “Lakorn Nok Wang” or “Lakorn Nok” is a dramatic arts of Thailand which performs with general story, and originated outside the royal residence in the early of Ayutthaya period.

History
Lakorn Nok is a dramatic art that has a story originating from outside the royal residence. Therefore, this type of dramatic arts is called a Lakorn Nok. Lakorn Nok started around the early Ayutthaya period. Primitively, it was not called Lakorn Nok until the emergence of Lakorn Nai in the royal residence. Thereby, the dramatic art that is performed outside the royal residence is called Lakorn Nok. This is because the organization of a pattern occurs when there is a dramatic art that is performed without strict rules.Therefore, a name must be established to create common understanding. It is defined according to the format of the performance as "Lakorn Nok '' refers to dramatic art that is performed outside the royal residence. It is a type of dance drama. Lakorn Nok was adapted and evolved from the Lakorn Chatri It is a dramatic art of the central region of Thailand that has developed since the 17th century.

In the Ayutthaya period The reason why it’s called dance drama Because it is a drama that uses dance moves to follow the rhythm of various melodies. Especially Lakorn Nora or Lakorn Chatri. There is often an unusual way of performing as well as singing and providing musical accompaniment, in this regard, the popularity of performing Lakorn Nok There are still some similarities. With Lakorn Nora and Lakorn Chatri a lot. For example, a rectangular theater can be viewed on 3 sides, with a single scene without having to change according to the story. There are 2 entrance and exit doors, in front of the middle screen is a bed for the characters to sit on to perform. Behind the scenes is Section for characters to rest and dress up. Some scholars explain that Lakorn Nok comes from the southern region of Thailand, so the word “Nok”(outside) means other provinces which likely meant southern. But some scholars describe it differently as “Nok” means outside which refers to the drama that performs outside the palace and this word which is in contrast to “lakorn nai”, which is performed in the palace by all women. Lakorn nai was developed after Lakorn nok around the 18th century or the Ayutthaya period. As for Lakron nok, originally they were all men. There are only 3 characters: a man, a woman, and a joker. The choice of stories to act is limited within a limited range. So, someone thought of developing the show. By adding more characters. The dramatic arts in the Ayutthaya period were just called Lakorn. When the Lakorn Nai occurs, this type of dramatic art is called “Lakorn Nok”. There are many stories for Lakon Nok in Ayutthaya, but there are still only 19 original stories that are seen nowadays, which are in the National Library of Thailand: Karaket, Kawee, Chaiyatat, Phikul Thong, Pimsawan, Pinsuriwong, Manohra, Mongpah, Maneepichai, Sang Thong, Sang Silchai, Suwannasin, Suwannahong, Sowat, Kraithong, Kobut, Chaiyachet, Pahrot and Silpsuriwong. All stories were allowed to perform in Lakorn Nok except “Oonnarout”, “Enau”, and “Ramayana” which were performed in Lakorn Nai.

Later, in the Rattanakosin period, King Rama II composed 6 Lakorn Nok, namely Kraithong, Maneepichai, Chaiyachet, Khawi, Sangthong, and Sangsilchai to be used as a script for the performance of the royal drama and the performance pattern has been passed down until the present day by selecting only the episodes that will be shown. As for the story and flow of the poem, it is smoother and neater than the poetry of the Ayutthaya period.

For this reason, because this non-Royal script is written and has a high quality, non-traditional theater groups are commonly using it to perform. After the period of King Rama II, drama became more widespread than before. Especially dramas at the local level, where it seems boring to do a drama with an original story. Therefore, there were many composers. Originally, Lakorn Nok was performed by men only, and then in the King Rama IV period, women were allowed to perform in the show, therefore, many theater groups emerged. When entering the period after King Rama V onwards, Thai dramas became sluggish, but there were still some newly written drama scripts. Newly composed drama scripts, if it is not a script that clearly indicates what kind of drama it is, then It is always shown in Lakorn Nok.