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This article analyzes on a new directorial approach to Venice Vanija (เวนิสวาณิช), a Thai version of William Shakespeare’s The Merchant of Venice (written 1596-99) and translated by King Rama VI (r. 1910-1925). It aimed to create a new space and new rules that would encourage Thai audiences to embrace new perspectives by watching the performance. The production was directed by the author in 2018 in the Department of Dramatic Arts in the Faculty of Arts at Chulalongkorn University. The directing approach focused on the play’s famous line “all that glitters is not gold,” (Act II, scene vii, line 65), and stressed how struggles between majorities and “the Other” are connected to identity conflicts that contrast with tensions with other people and conflicts within the whole community. The above focus was elaborated by using alienation effects, including a grotesque modern fairytale-like look, a nearly all-female cast, a distinctive traverse stage and set design, effeminate costumes for male characters portrayed by actresses, and mixed acting techniques. The director achieved his goals by concentrating on the message and the main conflicts in the play, transforming “aliens into the allies” through using good surprises and friendly attacks, and respecting every party.

Leh Laweng (The Wiles of Laweng) was a new dance-drama the authors created in 2019 in a post-traditional style of “Lakhon Phanthang” or hybrid dance theatre form. Working in our faculty’s theatre, the authors developed an original woman-centerd plot from the well-known Thai epic poem The Story of Phra Aphai Mani by Sunthorn Phu. Our new four-act script focused on the key, but neglected, figure Laweng – a Western-styled warrior queen – and reworked traditional modes of presentation to better convey a new sensibility for today’s audiences. While performed by traditional performers, cast for their abilities in traditional dancing and their knowledge, without regard to their gender, their acting also incorporated some modern theatrical techniques. The new style of this hybrid Thai dance play sought to convey a new message to contemporary audiences, while retaining key aspects of the Thai traditional form and taking on a more contemporary look. The process of reinventing Lakhon Phanthang into a post-traditional performance allowed artists, academics, and students to enrich their knowledge and through this new hybrid play for today’s audiences.