ความเปลี่ยนแปลงทางสุนทรียทัศน์ ในหนังตะลุงภาคใต้ : บทสะท้อนคิดจากมโนทัศน์การเล่นของฮันส์-เก-ออร์ก กาดาเมอร์

Abstract

The Aims of this thesis are to study the transformation of aesthetics perception in Southern Nang-Talung, Hans-Georg Gadamer’s concept of play and to reflect the concept of play which found in Southern Nang-Talung. This is a qualitive research. The procedure was followed by collecting data from academic documents and related literatures also the in-depth interview with scholars whose study on traditional and contemporary Nang-Talung. The result of the study found that at beginning Southern Nang-Talung related to Hinduism as a show which endeavors to teach moral lessons. The stories are indirectly related to the audience’s life at first. Due to the change of eras the stories become more related to life and add the characters that represent audience’s life into Nang-Talung. Also, the presentation properly develops to fit in with the audience acceptance. Which reveals that Nang-Talung has become play as it is able to be more related with life and increasing more interaction. Instead of the show that separates between stories and the audience’s life. Following Gadamer’s concept of play explained that aesthetic understanding came from participation in the artwork. The artwork included experience itself that can be affected to the audience’s experience. Southern Nang-Talung in present appears as play. So, the understanding needs to be through the area of play that players share to appreciate.