Khon And Lakhon dance drama.

Khon performances are considered the most elegant form of classical, traditional Thai dance. The royalized, all-male, masked dance is based on the Ramakien epic, as depicted by the murals in the Temple of the Emerald Buddha. Since the complete performance lasts many days, selected scenes can be viewed at the National Theater and the Royal Chalermkrung Theater in Bangkok and at the Old Chiang Mai Cultural Center up north.

The costumes and routines of traditional Thai dances come in many forms, depending upon the region the dance originated from. Most major cities offer khantoke dinner and the traditional Thai dance shows for tourists. The Lanna style khantoke dinners originated in Chiang Mai, where a single setting of small sampling of various Thai dishes are placed on a round tray.

The kohn masks are distinctive in that all are impressive examples of traditional Thai decorative art. Many of the costumes, although breathtaking, are heavy and uncomfortable, especially the masks of the male characters. Many roles of the khon demand extremely boisterous performances and are often fitted and sewn on the dancer prior to the performance. The actors keep their faces expressionless, communicating solely through a complex vocabulary of hand gestures and body movements.

Whereas khon portrays the exclusive Ramakien story, lakon nai takes its narrative content from a variety of legends. A further difference is that the lakon nai is less formal. Ladon nai dancers do not wear masks, but instead jeweled crown headdresses, called 'khon chada' are worn. Lakon nai dance requires extremely flamboyant and bright costumes. The costumes are made of intricately embroidered cloth, broad sashes, and bejeweled belts. Ornaments, such as bracelets, armlets, and rings add further detail to the dance.

Traditionally, lakon nai was danced solely by women, taking on both male and female roles, and the khon only by men. While both forms rely on gesture and posture as modes of expressing emotion as well as action, there is a fundamental difference in emphasis. The khon dancer seeks virtuosity in strength, agility, and muscular exertion. The lakon nai dancer is persuasive through grace and remarkably controlled and graceful movement.

Lakhon dance drama is less formal than Khon and the actors do not wear masks.

Lakhon plots are drawn mainly from the Ramakien, the Jatakas, and folk stories. Lakhon dance movements are graceful, sensual, and fluid, the upper torso and hands being particularly expressive with conventionalized movements portraying specific emotions.

The Lakhon can be divided into three types, namely Lakhon Chatri, Lakhon Nok, and Lakhon Nai.

Simplest of all in form and presentation, Lakhon Chatri is often seen at popular shrines, such as Bangkok's City Pillar where dancers are hired to perform for the shrine deity by supplicants whose wishes have been granted. Lakhon Nai drama was originally presented only by court ladies in the palace. It is graceful, romantic, and highly stylized. Lakhon Nok plays, on the other hand, are performed outside the palace and acted only by men. Filled with lively music, off color humor, and rapid, animated movements. Lakhon Nok is the ancestor of the enormously popular Li-ke folk theater, which is still a feature of many provincial festivals.