Pichet Klunchun’s shows typically explore an aspect of Khon’s “grammar” before combining it with contemporary choreography
Grand Palace in Bangkok and, as well as entry to the complex of classical Thai buildings, your ticket gives you access to a theatre in the Old Town. The package deal encourages tourists to enjoy a traditional Khon performance. The country has long been proud of its masked dance drama; in 2018added the art form to a list of intangible cultural heritage.
For the show Pichet has restaged some of his most famous dances, such as “I am a Demon”, a solo performance from 2005. The title refers to the way in which Khon dancers are cast by body type: demons are stocky, heroes willowy and monkey warriors spry. Pichet recreated the rehearsal sessions of his master, Chaiyot Khummanee, an independent teacher who instilled the fundamentals of Khon in a less rigid way that left scope for interpretation.
The dancer says he loves “the restriction of tradition”, but mastered the classical form in order to deconstruct it. His shows typically explore an aspect of Khon’s “grammar” before combining it with contemporary choreography. Rather than wearing the customary silk and brocade outfits, Pichet’s company often performs in tight-fitting lycra, to better reveal the movements involved.
Like some other Thai mavericks, such as Apichatpong Weerasethakul, a film-maker, Pichet has enjoyed respect abroad. The performer has staged 20 productions at more than 100 festivals worldwide and received major honours, including the Ordre des Arts et des Lettres in France. He has found an audience among compatriots turned off by the time-honoured form and was able to build his own venue, the Chang Theatre, in Bangkok.
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