Asian Theatre Journal

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.