Abstract:

As an identity, Isan (the northeast region of Thailand) is a problematic political construct that reflects ambiguous self-understanding and self-representation. Isan has long been challenged by Thai politics which cast the image of the Isan people as lower social status. However, the richness of Isan expression through Isan language, music, and cultures has always flourished. The research project “Embodied Isan Tone” aims to explore Isan language, Isan identity, and Isan persona that were embodied by young Isan actors and performers working in the three performance-making formats: text-based theatre, a devised performance, and a performance of the self. Through an intracultural perspective of acting, the project intends to inject an Isan-ness into contemporary theatre making and performance practice in Thailand, and to celebrate and raise awareness of contemporary Isan. The research method involves observing, interviewing, conducting group discussion with Isan actors in the creative process. As Isan contemporary performances, the three works, Bhai (Bus Stop), Home Heuan Hao (Our Home), and Bheen (Evert), revealed that Isan language provides a remarkable sound expression, fixed impressions of Isan identity are met with resistance, and Isan persona deeply connects with Isan community. This project has unraveled personal, political, and cultural tensions among Isan actors yet embraced them as creative resources for intracultural acting.

摘要：

作为一种身份，伊桑（泰国东北部地区）是一个有问题的政治结构，反映了模棱两可的自我理解和自我代表。伊桑长期以来一直受到泰国政治的挑战，泰国政治将伊桑人的形象视为社会地位较低的形象。然而，通过伊桑语言、音乐和文化丰富的伊桑表达方式一直蓬勃发展。研究项目“Embodied Isan Tone”旨在探索以三种表演形式工作的年轻 Isan 演员和表演者所体现的 Isan 语言、Isan 身份和 Isan 角色：基于文本的剧院、设计的表演和表演的自我。通过表演的跨文化视角，该项目旨在为泰国当代戏剧制作和表演实践注入 Isan-ness，并庆祝和提高对当代伊桑的认识。研究方法包括在创作过程中观察、采访、与 Isan 演员进行小组讨论。作为伊桑当代表演的三部作品，Bhai（巴士站）、Home Heuan Hao（我们的家）和Bheen（埃弗特）透露，伊桑语提供了非凡的声音表达，对伊桑身份的固定印象遭到抵制，伊桑人格与伊桑社区有着深厚的联系。该项目揭示了伊桑演员之间的个人、政治和文化紧张关系，同时将它们作为文化内表演的创造性资源。