声明：本篇文章翻译自本人于皇家市颂赞殿剧院购买的英文版孔剧宣传册（Khon-Thai Masked Dance Sala Chalermkrung）。如有不妥，本人会于第一时间将本文删除。全文由本人人工翻译，难免出错，还请各位多多包涵。本篇为暹罗文化之宝——拉玛坚和理解孔剧。
暹罗文化之宝——拉玛坚
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Ramakien has continually been composed by a number of Thai monarchs or the court poets from past to present. It is deemed as the most precious literature, and it is instrumental to uphold the monarch institute.
拉玛坚从古至今被多位泰国的君主和宫廷诗人创作。它被认为是最为珍贵的文学创作且在支撑君主的制度中起到了重要作用。
The story of Ramakien illustrates the august power of the monarchy as an institution, which based on the belief that the king is akin to Phra Narai (Hindu god Narayana). It emphasizes aspects of royal benevolence and virtue. It also presents the supreme ideal of a society- that good triumphs over evil, and reflects virtues in terms of honesty, loyalty, humility, respect for the elders, adherence to truthfulness, gratitude and valor.
拉玛坚的故事描述了一个深受爱戴的政权的执政者的制度，这个制度是基于国王是Narai神（印度教中的那罗延，毗湿奴的化身之一）的化身的信仰。这个故事强调了皇家的善和美德的一面。它还展示了终极的理想社会的样子——胜利战胜邪恶，诚实、忠诚、谦逊、尊老、真诚、感激和勇敢的美德被得到反馈
理解孔剧
Khon is a form of entertainment, originally performed only during royal ceremonies. It is considered an exquisite form of art dating back to the Ayudhaya Period that became very popular and, as it evolved its style became ever more elaborate.
孔剧是一种娱乐，它最早只在皇家的仪式上进行表演。它被认为是一种华美的艺术，可追溯到阿瑜陀耶王朝（1351-1767年）时期，它在受欢迎的同时，自身的艺术风格也在进化、变得更加详实。
Khon is a performing art that integrates many fields of knowledge and art forms. The performance and costumes are taken from Chak Nak Duekdamban- play on war between angels and demons- presented as a blessing for the longevity of the king in the Indrabhisek ceremony. Its movements are adopted from fights and weapon dances in the Krabi Krabong. Recitation, narration, dialogue and movements are taken from Nang Yai- the shadow puppetry in which performers manipulate leather puppets on the screen and dance in tune to a recitation and the Na Phat music.
孔剧作为表演艺术集合了多方的知识和艺术形式。表演和服装吸取自《搅动乳海》——描述了神魔之战的神话——用来在吠陀仪式中保佑国王长盛不衰。剧的舞姿采用自战斗和泰国的武器舞蹈（一般是长刀和长杆）。朗诵、旁白、对话和动作取自Nang Yai——泰国的皮影，表演者需要在屏幕上操纵皮制木偶并随朗诵和召唤神灵的音乐节奏起舞。
In the past, the faces of the performers had to be covered by masks. Later, males, females, deities and maiden angles would wear headdresses and only demon and monkey characters would don masks. For this reason, narrators or vocalists were needed to narrate the storyline for the performers. This was followed by a singer and a chorus to sing the narration part of the story. Performers move, dance or express actions in accordance with the narration, dialogues, songs and music.
过去，表演者的脸必须被面具遮住。后来，男角、女角、神祇和女天使的扮演者会佩戴头饰，只有魔鬼和猴子的角色需要戴上面具。基于这个原因，叙述者需要为表演者讲述故事线。演唱者和一个合唱队会跟随演唱情节的旁白部分。表演者会随着旁白、对话、歌曲和音乐进行移动、舞蹈或做出表达性的动作。
Khon costumes are ornately created, particularly the masks, each of which has a unique identity reflecting the features recognized in each of the characters.
孔剧的服饰制作华美，尤其是面具。每个面具都有它独特的标志，可以反映每个角色的特征。
Khon performance is commonly taken from the story Ramakien( Ramakirti), which is based on Indian Ramayana epic. It comes in a variety of versions but the one considered to be the best for its poetic value is the royal composition by King Rama II. In the reign of King Rama VI, the thriving era of Khon, lots of lyrics and narrations were composed by the king himself.
孔剧表演的故事主要采取自拉玛坚，源于印度史诗罗摩衍那。它有众多的版本但被认为最有诗歌价值的是由国王拉玛二世创作的皇家作品。在国王拉玛四世统治时期是孔剧的兴盛时段，很多的歌词和旁白都由国王本人创作。
Later, directors of the Khon performance have adjusted the texts so as to make them apt to particular occasions while taking into consideration the ability of each performer.
后来，孔剧表演的导演考虑到表演者各自的能力改变了剧的文本从而让他们能够在特殊情况下快速应对。
